MaD 2011 Cyrus FRISCH:The Story of a Filmmaker Who Got Frustrated Because He Never Saved a Life

July 18, 2012

MaD 2011荷蘭導演Cyrus FRISCH演講雙語字幕在MaDee的幫助下已經準備好啦!

感謝王卿贇義務幫忙!

With MaDee’s help, MaD 2011 Cyrus FRISCH’s bilinguall  talk script is now available!

Thanks Veronica WONG ‘s voluntary work!

MaD 2011 Cyrus FRISCH:一個導演的懊惱──電影可不可以拯救生命?

MaD 2011 Cyrus FRISCH: The Story of a Filmmaker Who Got Frustrated Because He Never Saved a Life

Cyrus FRISCH
電影導演(荷蘭) Film Director (Holland)

關於講者

在電影中向社會提出問題的前衛導演Cyrus FRISCH,深明藝術電影的限制。他現在正計畫展開“世界問題計畫”,請國際導演就世界議題拍攝電影,從而啟發出真實的成效。在MaD 2011,Cyrus會分享他以電影評論及改變社會的願景。

About Speaker

Having asked serious social questions through his avant-garde films, Cyrus FRISCH is aware of the limitations of art-house cinema. He is now developing the “World Problems Project”.

The idea is that a group of international directors will be invited to make films on major world problems, and give a real impetus to constructive solutions. At MaD 2011, Cyrus will share his vision in using film as a medium of social critique, as well as stimulant for actual change.

觀看視頻請點擊以下鏈接:

You can find the video from the following link:

Youtube:  http://youtu.be/HGSolmLYx-Q

Youku:      http://v.youku.com/v_show/id_XMzg1NjkwMDQ0.html

MaD 2011 TALK

CYRUS FRISCH

字幕製作及翻譯:王卿贇

Script Production and Translation: Veronica WONG

(Start with HUG)

Then: This time pretend he or she is falling from a bridge.

我是Cyrus Frisch

My name is Cyrus Frisch

我是來自荷蘭的電影導演兼製片人

I am a filmdirector and producer from Holland

我一直被稱為“壞孩子”或者煽动分子”

I have been called an enfant terrible, or an “agent provocateur”.

我也不知為何大家這麼稱呼我

I don’t know why.

我只是在盡力地拍攝有意思的片子

I’m only trying to make interesting films.

一些能使你血液加速、激動興奮、引起情感共鳴的片子,僅此而已

That make your blood flow a little faster. That are exciting to watch. That evoke emotion.

換句話說,我所追求的東西無異於其他電影人

In other words I’m after the very same thing any other filmmaker is after.

那麼又是為什麼大家要稱我為“荷蘭電影狂人”呢

Then why do they call me the “Wild man of dutch film”

或者“毫無疑問荷蘭最大膽的电影人”呢

Or even “Without a doubt the most provocative filmmaker in Holland”.

自打我上電影學院起,我就對製作一部電影所要耗費的成本而感到不可思議

Ever since I went to filmschool I was amazed how much money it costs to make a film.

不僅是成本,它要耗費的精力也相當驚人

And not only that, it also asks a lot of energy of people.

但拍電影對我來說則是一項重大的責任

To me this felt like a big responsibility:

只有當我遇到某些意義深遠的題材時,我才會正式把它搬上大螢幕。

I can only legitimize this to myself if somehow it

Is of importance.

但如何定義這個“意義深遠”呢?

But how to define importance??

上電影學院那會我還很年輕,生活閱歷還不是很豐富。

At filmschool I was very young, not much experience with life yet.

這是一個預告片,我為考試而製作的電影預告片,電影的名字叫“歡迎光臨”

My examfilm called Welcome

它提出了這樣一個問題:在這個愛滋病盛行的年代,我們該如何應對60年代的父輩們為我們爭取到的性自由

raised the question How to deal with the sexual freedom gained by the generation of my parents during the liberating 1960-ties-in this time of aids.

這部電影嘗試著引導人們去思考一些現代與性相關的小問題

The film tried to provoce some small questions about modern sexuality.

你也許會說,這是部無關緊要的小電影

A harmless little film you might say.

Hans Beerekamp是三十年來荷蘭最具影響力的電影評論家

Hans Beerekamp has been the most influencial filmcritic of the Netherlands for about 30 years.

事實上,他在荷蘭電影基金會的影響力大到使之成為荷蘭唯一一個能影響電影人前途的人。

In fact he was the only film critic in Holland who could make or break a filmmakers career,  because of his influence in the Dutch Film Fund.

他確實很討厭這部電影以及那時我製作的其他幾部短片。

He really hated the film, and the few other shorts I had made by then.

他對我的作品評論如下

This is what he said about my work:

BEEREKAMP

BEEREKAMP:

如果讓我來談談塞勒斯·弗裡希和他的作品的話,我想到的第一個詞就是:可憐

If I think about Cyrus Frisch and his films, the first word that comes to mind is: Pathetic.

這部作品是對電影的一種毫無緣由的反叛

A rebel without a cause.

毫無風格可言的頹靡的電影

It’s decadence without style.

好像某個人在那兒自顧自的說些廢話

It’s as if someone is stirring his own dirt.

這部製作沒有從影迷或者其他的角度出發,而是顛覆了電影

It’s not inspired by cinephilia, or any other examples.

It’s inventing Film all over again.

就他而言,只不過是他孤芳自賞的一種形式罷了

For his own sake. As a form of Self-pity.

這段獨白來自我離開電影學院之後製作的第一部電影。名字就叫孤芳自賞

It is a monologue from the first film I made after filmschool; called Self-Pity.

當那個明星記者無情地詆毀我與我的作品時,我試圖讓自己溺死在一個魚缸裡

While this star journalist is tearing me and my films apart I am trying to drown myself in a fishbowl

我為我的存在感到抱歉, 每時每刻我都在嘲諷自己

apologizing for my existence and making a fool out of myself in any way I can think of.

對我來說這是最能有效的讓那個人從我的腦海裡消失的辦法

This seemed like the most effective stategy to get him of my back.

這確實起到了作用

The strategy worked.

那個評論家對於我再也沒有提過隻言片語

This critic would never write anything about me again.

然而我卻因此產生了一種很怪的感覺:

But it gave me a very strange feeling:

我曾經說過一部電影要做到意義深遠以對得起耗費的成本和精力

I, who had been telling everybody that a film has to be of real importance – because of the money and energy it costs, was making this…

但是我現在做這些又有何意義可言呢

What was the importance of this??!

我感到很羞愧

It made me feel guilty.

我只顧著在“自我”這件事情上面浪費我的才華與能力

I had the feeling I was wasting my talent.., on ego-centrism.

毫無疑問“孤芳自賞”是我所有電影裡最自我中心的電影之一

Self-pity is undoubtebly one of the most egocentric films ever made.

這部電影確實讓我受到了一些關注

It did get me a some attention.

我受邀去不同的幾個電視節目裡談一談我的作品

I was invited to come to different television-programs to tell about my work.

其中有個叫Call-TV的節目真的很討厭:這個節目可能是當時荷蘭所有的節目裡最蠢的了

Among them was a program called Call-tv. I hated that program: it was probably the silliest gameshow on Dutch television at the time.

由於它是現場直播的節目並且還擁有一大批忠實觀眾

But it was live, and had a big audience.

我突然萌發了個想法,據此製作一部有意思的紀錄片

Suddenly I got an idea for a funny documentary.

我打算帶著我的幕後團隊去節目,來曝光像這樣愚蠢和變態的節目I would bring my own crew, and expose the stupid and amoral nature of a game show like this.

我會模仿那些電視節目裡我討厭的人的言行,而且我會做的更過分I would do the things I saw others – do on television that I hated, but i would do it even worse.

我會在每個方面都做到真真正正的可惡,敗壞。

I would try to behave truly bad in every sense of the meaning.

我確實照做了

And I did.

起初我做那些我之前說過的蠢事兒然而主持人竟然毫不理會

At first it just meant I said stupid, or bad things. But the host didn’t even seem to notice.

之後我與我們所謂的“女主角”演了一幕更嚴重,更出位的戲,這個場景原本是為我的下一部電影準備的

Then I did a violent, agressive scene that I supposedly needed for a next film I was working on – with the so-called “actrice” that I had brought with me.

這次我们在觀眾群裡引起不小的風波,不少觀眾開始打電話來投訴

It raised a lot of questions among the viewers and a vast amount started calling the network to complain.

可是節目的負責人在控制室告訴主持人就當做是做節目效果

But the boss of the programm in the control room told the host to act as if it was all part of the show.

最後我決定佯裝我要強姦女主角

And finally I decided to pretend I would have sex with the actrice – against her will.

這一舉動使他們台陷入一個進退兩難的境地

This presented the network with an interesting dilemma.

一方面他們開始後悔邀請了我做嘉賓

By now they were indeed regretting the fact they had invited me to be their guest.

但與此同時,他們的收視率上升了

But at the same time they saw the amount of viewers rise by the minute,

而這就是他們的目的,讓更多的人給他們的製作室打電話,他們正是靠這個來營利的

and the whole purpose of the program was to have as many people call the studio as possible, since that was how Call-TV earned their money.

我的言行給這個節目帶來了史無前例的收視率

My behaviour attracted more viewers than they ever had before,

因此他們決定順其自然,將以後任何可能發生的事情就當做節目效果處理

therefore they decided to let it go on and pretend that no matter what happened, it was all part of the show.

我在電視媒體上的舉動引起了一場關於荷蘭電視媒體道德缺失的激烈討論

In the media my appearence in this show provoced a strong discussion about –the lack of- moral on Dutch television.

我突然想到了一個意義深遠的電影題材

And suddenly I felt I found an important subject for a film.

我公開聲明我將製作一部影迷們在道德上無法接受的電影

I publicly challenged myself to make a film that is morally Unacceptable to my audience.

每天我都能看到電視上那些真人秀胡編亂造些離奇詭異的事兒,像奧普拉·溫弗瑞的脫口秀、傑瑞·斯普林格脫口秀以及其他一些荷蘭播映的真人秀

Every Day I could see bizarre and strange fiction on television  –  the manipulated realityshows from Oprah Winfrey, Jerry Springer and their dutch counterparts.

我對這些節目又愛又恨,隨即我準備製作這部電影,在影片中我將模仿他們的一言一行或者做的更加過分

I watched them with a mixture of fascination and dislike and decided to make a film in which I would do the same, but worse.

我希望能通過這種公然突破道德底線的行為

By vigorously and openly exceeding the borders of the acceptable,

讓人們瞭解電影或者電視是如何利用人們的痛苦或不幸,希望能引發人們的討論與思考

I hoped to get some understanding of the exploitation of human suffering on film and television and to stir up the opinions.

我為電影“不好意思”寫了腳本

I wrote a script for a film called “Forgive me”.

為了認識那些有生理殘疾或精神障礙的人們

And to get in contact with the physically or mentally handicapped people that i needed,

我從阿姆斯特丹最田園牧歌般的社區搬到肅清的僑德仕街

I moved from the most idyllic neigbourhood of Amsterdam, to the grim Geldersekade.

這些“演員”會本色出演,我們拍攝他們的自尊被赤裸裸的剝奪的場景。

These “actors” would play themselves, we began filming brutal scene’s in which their dignity was taken away.

我清楚的知道我們這樣做不對

To me it was very clear that what we were doing was wrong.

但我們的初版卻在阿姆斯特丹國際紀錄片電影節上得到評論家們非常熱烈的回應

But when a first edit was shown at the International Documentary Festival Amsterdam the critics reacted extremely positive.

我對拿別人的不幸來“娛樂至死”這一敏感題材的探討得到了很多人的賞識

I recieved appreciation for my attempt to say something sensible about the “growing acceptance of using other people’s lives for entertainment”.

然而這並不是我所希望得到的

This was NOT what I was hoping for.

為了進一步達到目標,我決定對他們做的更過分、出位

In order to achieve my goal we had to go further.

I had to abuse these people even more.

我帶著原班人馬排了一個戲劇

I though of a play using the same “actors“.

我將他們推到幕前,讓那些文化精英們支付高昂的票價來嘲弄這些糊塗主演們

I‘d put them on stage so that, after buying an expensive ticket, the cultural elite could laugh at the confused “actors” that

這些演員根本不知道演戲和他們原本的生活到底有什麼區別

hardly knew the difference between “acted” emotional situations and their real quarrels.

這齣戲劇成了真正的小眾戲劇,演員們似乎也樂在其中

The play became a genuine cult-hit.

And the actors seem to love it.

Chiquita, Peter, Nico and Achmed故意的去誇大他們自身的問題

Chiquita, Peter, Nico and Achmed; they deliberately enlarged their problems.

他們認為觀眾們喜歡看他們更夸张的表演

They were playing an exaggerated version of themselves because they felt this was what the audiences loved to watch.

結果是這部劇越來越被人們所厭惡

As a consequence the play became more and more repulsive.

我感到很困惑

It was me who got very confused.

在我看來“不好意思”這部影片 (戲劇是電影的一部分) 雖然基調有些黑暗,然而它是對那些利用人們的苦難來博取利益的行為的一種強烈控訴。(也是為了保護那些不幸的人)

I saw the “Forgive me”, and the play that was part of that film, as a dark but strong plea against the exploitation of human suffering (and a plea to protect these people)

影片意在表現紀錄片與科幻片的區別在慢慢地變的難以界定,而這非常危險

It meant to show the danger –the confusement- of the increasingly blurred lines between documentary and fiction.

可如果演員和觀眾覺得這些都無所謂,那我應該去質問誰

But if the actors and the spectators don’t have a problem with it, then who am I to judge?

這件事讓我對於藝術的意義所在和藝術家的責任產生很多感慨與思考

It made me think a lot.., about the meaning of art. And the responsibility of an artist.

如何讓電影或藝術變得意義深遠??

How can film or art become of real importance ??

之後的日子裡我拍的影片都正常多了

In the following years I made more normal films.

比如說在影片“為什麼沒人告訴我阿富汗的事情會變得這麼糟” For instance “Why didn’t anybody tell me it would become this bad in Aghanistan”;

敘述者用手提電話拍攝故事來描述一個退伍軍人所看到的一切

the first narrative feature shot with a mobile phone, about a war-veteran seeing danger everywhere he looks.

這部影片主要描述在第二代移民與阿姆斯特丹土生土長的白人居民之間由於雙方的不同願景 的而引發的分歧

The film shows how different expectations between youths of immigrant origen and predominantly white residents in Amsterdam give rise to rows, creating a growing tension

如果雙方能給彼此多一點的尊重與理解就不會導致現在日趨緊張的形勢。影片從受過精神床上的退役老兵的視角強調溝通與態度的重要性

that would not exist if the parties involved would treat each other with a little more .., respect.”

The film stresses the need for dialogue and decency, through the eyes of this traumatized war-veteran.

在接下來的那部“目眩神迷”中,主角由於自己沒有幫助那些需要幫助的人而產生負罪感

In the next film “Dazzle” the leading character feels guilty about watching people in need, and not doing anything to help them.

電影中有一個場景集中表現了這點,主人公發現她的窗對面住著一個乞丐,那個乞丐住在一條船上

It concentrates on one specific scene she had witnessed of a bum living opposite to her window in a boat.

在一個非常寒冷的冬天的晚上,那個乞丐冷得要命,他邊尖叫著要結束自己的生命邊祈求上天了結了他

One ugly winters night the cold drove him crazy.

Literally. He started screaming he wanted to die, pleading to God to kill him.

她親眼看到了這一切卻只是無動於衷,整部片子中她似乎歇斯底里的試圖為自己的這一行為找一個合理的藉口

She witnessed this, and spends almost the whole film desperately trying to find some kind of good reason, that she didn’t do anything to save him.

她向那些社會上最弱勢的群體表達某種憤怒,因為面對那些人她也無能為力,也愛莫能助。

This results in expressing a certain kind of anger towards the most vulnerable people in society. Because they confront her with her inability to .., save them.

到這個階段為止我所有的電影和戲劇都是圍繞著一個簡單的問題Uptill here all the films and plays that I made

circled around a simple question:

那就是如何對待別人的不幸

How to deal with the suffering of others?

接下來在“黑尿熱”的創作過程中我開始構架這個問題的答案

With the next film – called Blackwater Fever –  I set out to formulate an answer.

接下來是“Blackwater Fever”第一幕中主人公說的話

This is what the leading character says in the opening scene of Blackwater Fever:

現在

And now…

那些在我腦海中浮現的畫面再也揮之不去了

Images flow through my head that I can’t get rid of anymore.

我看著鏡中的自己

When I look at myself, in the mirror…

一個看著他人慢慢腐朽毀滅的人

I see a man who watches others perish.

我只有看著的勇氣

I have the guts to look but not to do anything.

我沒有打電話報警

I don’t pick up the phone to call the police.

我沒有開窗疾呼

I don’t open the window to scream.

鏡子裡面的是一個殺人兇手

When I look in the mirror…

I see a murderer.

這個人自稱殺人犯並不是指他真的殺了誰而是他從未阻止過那些罪惡

This man calls himself a murderer, not that he ever got his own hands dirty, he just never did anything to make something bad Not happen.

他罹患了黑尿熱,學名叫瘧疾性血紅蛋白尿

He is suffering from Blackwater Fever, also called Malarial Hemoglobinuria.

在馬來西亞這是最危險的併發症之一

One of the most dangerous complications of malaria.

它的症狀包括脈搏加快、高燒還有就是像它的名字所表達的那樣,患者會排泄出黑色或者是深紅色的尿液

It’s symptoms include a rapid pulse, high fever and the passage of urine that is black or dark red in colour – hence the disease’s name.

根據這部電影,我們可以用兩種方式來看待別人的苦難

According to this film there are two ways to watch the misery of others.

第一種就是選一個讓自己舒服的位置,坐在電視機前或者呆在車裡

One is from the comfortable position from behind a televison, or from within a car.

但漸漸你會發現那些別人受難絕望的場景在你腦中揮之不去

But at a certain point you will notice that you cannot leave these images, this knowledge in fact of others in despair, you can not leave this behind.

如果你不積極主動地去幫助去改變的話,那些畫面會隨時隨地跟隨著你

If you don’t do anything to change it, it will catch up with you. Somehow, somewhere.

這會讓你感到焦躁,絕望,羞愧或者自責。

It will make you feel feverish. This fever can have many forms: anxiety, desperation, shame or guilt.

因此你開始站在不同的立場上考慮

It might result in having you starting to watch differently.

比如說,你可以打破或者扔掉那面折射出扭曲現實的鏡子

You can for instance break -or lay aside- the mirror that misforms reality.

你可以關掉電視,合上筆記本,停下汽車然後出去走走

You can turn off the television, the laptop. Or stop the car and get out.

你可以四處漫步,用你的嗅覺,觸覺去感受一切

You can walk around, Smell, Touch and get in contact.

你可以大聲的說話,抗議甚至喊叫

You can talk, raise your voice, Protest, Yell.

你可以做點什麼,即使做的不多,但至少能讓那些不安消失

You can do Something. It may not seem much, but it  makes the fever dissapear!

所以..我們應如何對待其他人的不幸呢

So…  How to deal with the suffering of others?

正確答案是用你的行動

The only right answer is to act, somehow.

或者至少你應該表達出你的同情或者理解

Or at least by showing compassion and trying to Really understand the cause…

荷蘭的報紙寫道,我已從荷蘭最以自我為中心的电影人轉變成最具社會關懷的电影人According to the Dutch newspapers I had developed from the most egocentric, to the most socially engaged filmmaker of the Netherlands.

但那些觀眾從中受益了嘛

But what does the audience get from this???

和大多數有社會關懷的電影人一樣,我的作品也僅僅是營造出所謂的“意識”

Like most socially engaged filmmakers my films don’t do anything more than Creating so-called Awareness.

這樣就能讓世界變的更美好嘛

How does this make the world a better place?

順著邏輯,我想到的下一個問題是,如果去結束別人的苦難呢?

The logical Next question for me in order to develop is; how to End the suffering of others?

這個問題有沒有解決方法呢

How to solve it???

我從書本中去尋找答案

I started reading books.

我讀了

《路西法原則》

《社會是如何選擇成功或失敗的》

《從搖籃到搖籃》

《B計畫》

《所有問題與他們的解決方式》

I read The Lucifer Principle.

I read How societies choose to fail or to succeed.

I read Cradle to Cradle

I read Plan B

I read All the major problems and their solutions.

昨天荷蘭領事告訴我20%的香港人日收入在1美元以下。20%!1美元以下!

Yesterday I was told by the Dutch Consul that 20 % of all people in Hong Kong earn less than 1 US dollar a day.

20 %! Less than one US dollar!

這不會是真的吧?

That can’t be true, can it???

如今的社會真的很難生存

The worlds a rough place these days.

至少8.4億人正在遭受饑荒的折磨,他們就只比餓死稍微好一點

At least 840 million people suffer from chronic famine and are only one bad harvest removed from starvation.

20億人生活的地方沒有通電

Two billion people do not have access to electricity.

20億人由於沒有排汙系統而無法衛生排便

About two billion people have no safe way to dump their shit, because there is no sewer system.

幾百萬的人掙扎在饑餓的生死線上的同時,幾十億的人可能又還在挨餓。

Hundreds of millions of people are already on the brink of starvation. And we are raising another few Billions of hungry people.

在過去的50年間,世界人口從25億激增至70億。

The global population has mushroomed from 2.5 billion to over almost 7 billion in just the last fifty years.

每天出生的人數和南安普頓城市人口數差不多。

Every single day we are welcoming a city the size of

Southampton.

每個月出生的人數和倫敦人口數差不多。

Every month another London.

每年會有比德國人口總數還多的人出生,他們需要餵養,需要衣物,需要水資源

And every year a complete extra Germany to feed, clothe and water.

人一旦變得饑餓,就沒有能力努力的工作。

Hungry people don’t have the energy to work as hard.

經濟學家估計發展中國家的營養不良問題每年會給他們造成大約1000億美元的損失

Economists estimate that approximately 100 billion dollar is lost annually from developing world economies because of malnutrition.

饑餓的人同時也是病人,而疾病會將他們拖入貧窮的深淵

Hungry people are sick people, and sick people in turn slide furter into poverty.

當人類變得歇斯底里,營養不良,絕望時,他們會責難原本應該為這些問題負責的政府

When people are desperate, undernourished, and without hope, they blame their governments, which they see as responsible for their problems.

他們竭盡所能的移民,他們為土地互相爭鬥,他們殺人甚至發動內戰

They try to emigrate at any cost. They fight each other over land. They kill each other, They start civil wars.

他們知道自己已經沒有什麼可以失去了,所以他們變成了恐怖分子或者縱容支持恐怖主義。

They figure that they have nothing to lose, so they become terrorists, or they support or tolerate terrorism.

我們不能認為這些問題太嚴重了不是我們能解決的了的

We should not conclude that these problems are to big to solve.

我的一個朋友說:

A friend of mine says:

歷史不是一支在行軍的軍隊而是人類的行動發展或改變歷史

History is not an army on a forward march.

History evolves and changes because of the actions of people.

面對未知的未來,我們不是束手無策的,我們可以改變歷史

We’re not passive victims of a future that is unfolding.

We can change things…

我們不必像“Blackater Fever”最後一幕重的那個主角一樣歇斯底里

We don’t have to be as desperate as the leading character

in the last scene of Blackwater Fever.

我們可以在根除貧窮上多努力,減少在武器與戰爭上的開支而加大教育事業上的扶持力度,創建一個和平的世界

We can make great strides in eradicating poverty and esthablish peace by spending less on weapons and war, more on education;

我們應從長遠上的眼光看待目前的世界性問題,

by taking a long-term view of the world’s problems,

我們應關注每個孩子的最基本權利

by focusing on basic rights for every child,

我們應解決每個國家內的存在的衝突與不公

by addressing conflict and injustice in every nation, and

我們應更負責,可持續地利用世界上有限的資源

by having a much more responsible and sustainable use of the world’s finite resources.

每年全世界在戰爭,武器及暴力衝突上的花費就高達14640億美元Each year the world spends 1,464 billion US dollars on war, weapons and violence.

資料給我們提出了一個簡單的問題:我們是在鼓勵戰爭還是和平This raises a simple question: Do we want to encourage

War, or do we want to encourage Peace?

從根本上重振全球經濟才能消除貧窮,控制人口,復興金融支援系統,才能促進世界和平。然而全世界在這些方面的花銷卻是錙銖必較。

The costs needed for fundamentally restructuring the global economy in order to eradicate poverty, stabilize population and restore the economy’s natural support systems and thereby stimulating peace, have been calculated roughly.

世界衛生組織預估如果讓基礎衛生保障覆蓋發展中國家的話需要330億美元。

For instance the World Health Organization estimates that providing the most basic health care in developing countries would cost 33 billion US dollars.

如果讓基礎教育普及發展中國家的話需要的額外資金額大約是每年100億美元

The additional funding needed to achieve universal primary education in developing countries that require help is estimated at 10 billion dollars per year.

如果給發展中國家的所有女性提供生殖保健和計劃生育服務每年將需要170億美元

And providing reproductive health care and family planning services to all women in developing countries is estimated at 17 billion dollar a year.

總而言之,如果實現基本的社會目標,修復地球環境每年需要1870億美元

Altogether, reaching basic social goals and restoring the earth will cost 187 billion US dollars per year.

雖然聽起來這個數目很多但與每年的軍費開支相比,這只是冰山一角

That might seem a lot, but comparing it with global military costs places it in perspective.

如果我們只將每年世界的軍費開支中的13%移作他用

By shifting 13 only percent of the world’s military budget,

我們可以解決饑餓,文盲,疾病與貧窮,控制人口,還可以修復水土流失,植樹造林,重振漁業

we can get rid of hunger, illiteracy, disease and poverty, stabilize world population, – AND restore the earth’s soils, forests and fisheries.

如果這樣的話,我們可以重燃地球上每一個人的希望

This would restore hope for everyone.

Every single person on the planet.

我記得幾年前我的女朋友Elena Simons曾經給我看了荷蘭報紙上的一篇文章

I remembered a small article from a Dutch newspaper that my girlfriend, Elena Simons, has given me a few years ago.

文章說的是在中國有一個人專門救那些準備跳大橋自殺的人們

About a man in China who was rumored to be saving lives, simply by grabbing them  before they jump from a bridge.

這個人叫陳思

This man is called Chen Si.

我頓時感覺很震驚

And suddenly it hit me…

作為一個电影人,我多希望我能像這樣讓人們明白到底什麼是最重要的

Suppose for a second that I would be the filmmaker that helped mankind get the priorities right!

我多希望自己能能做一部有社會意義的電影來消除貧困與暴力

Suppose I Would make that film that creates a social tipping point needed for the change that is needed to eradicate poverty and violence…

如果我能將世界軍費的13%挪作他用的話…

by simply shifting 13 percent of the world’s military budget… –

即使我能做到,我也會感覺失落

even then I will feel frustrated.

我的失落在於我從未沒有像陳思這般直接的去拯救別人的生命Frustrated that I have never saved a person life

as directly as this Chen Si is doing.

儘管我會盡我所能去拍攝有意義的影片,我還是覺得我是個輸家Although I will do my best making the most important films possible, I will still feel like a loser,

我像“Blackwater Fever”中的角色一樣,雖然沒有犯錯卻任然是一個殺人兇手

or like someone – like  the character in Blackwater Fever: who didn’t do anything wrong, but still considers himself a murderer.

請看看他,捫心自問

Please look at him and ask yourself the question:

為什麼我們無動於衷?

大約50次

Why don’t we do anything?

Why don’t we do anything?

Why don’t we do anything?

(Approx. 50 times)

我們應該做什麼?

大約50次

What do we do?

What do we do?

What do we do?

(Approx. 50 times)

我能做些什麼能像陳思所做的那樣意義深遠呢

What do we do that is As important as what Chen Si is doing?

這才是我們應該想的問題

That’s the question.

去他媽的“生存還是毀滅”

Fuck  “To be or not to be…”

這才是我們真正應該問的問題

THIS is the question.

我們如何面對鏡中無動於衷的自己呢

How can we ever look at ourself in the mirror NOT saving peoples lives……??????

我希望跟你們分享這個故事,我問MaD能否幫我聯繫到陳思

I though it to be a good idea to share this with you, and asked whether the MaD organisation could help me find Chen Si.

他們前往南京見到了陳思

And they did.

They even went to Nanjing to meet him.

MaD向他提了一些問題,陳思還寫了一封信給我

They asked him to answer some questions. And he wrote me a letter.

內容如下:

This is what it says.

LETTER from CHEN SI:

我是個很簡單的人

I am a simple person.

1990年,我來到江蘇南京找工作

I left Jiangsu for Nanjing to find work in 1990.

我靠社會的最底層的工作來養活自己

I have been supporting myself by working at the lowest social stratum.

開始我幫人家開挖掘機,但是幾個月之後我就被炒了,而且一分錢也沒有拿到

Initially I was a digger, but was thrown out without payment after a few months.

我和我的幾個同鄉在一個親戚那兒找到個能遮風避雨的地方住

Me and a few fellow countrymen got together and found shelter at a relative’s,

我們就靠撿破爛來維持生計

and rag-picked to earn our bread.

之後,我開了一個小雜貨店,終於在南京落下了腳

Later, I managed to start a little grocery store and settled down in Nanjing eventually.

2000年,某天送貨途中,我在南京長江大橋上休息時意外地救了一個人

In 2000, when I was taking a break on the Nanjiang bridge in the middle of a delivery, I saved a person by accident.

我感到很震驚,當我們絕望時,如果有一個人能拉我們一把的話是多好啊

This struck me tremendously: how nice it is when there is someone to hold you back when you are desperate!

2000年之後,自殺事件,特別是農民工的自殺事件,在電視上不絕於耳

After 2000, stories of suicides, mostly of migrant workers, flooded the media.

我感觸很深:

I felt deeply about this:

農民工兄弟在異鄉沒有朋友,沒有家人陪他們渡過難關

migrants do not have friends and families to support them through difficulties;

當他們再也無法承受時,只能選擇結束自己的生命

when they cannot take it any more, they can only choose to end their own lives.

2003年的9月,我的女兒上小學了。她和我的妻子週末時幫我照料店鋪

In September 2003, my daughter entered primary school. She and my wife could help with the store on weekends.

2000年我救人的經歷讓我無法再無動於衷,於是我決定週末或者節假日的時候去大橋上救人

I couldn’t help it anymore — assured by my lifesaving experience in 2000, I decided to go to the bridge and safe lives during the weekend and holidays.

從2003年起,我已經救了194條生命

Since 2003, I have saved 194 lives.

我不認為這是什麼成就

I don’t see this as an achievement. Indeed,

事實上我為自己沒能來得及救的人而感到惋惜

I feel sorry for the lives I could not save.

因此儘管這項任務非常辛苦艱巨,我任然堅持去做

Thus I persevered, although this is a tiring and difficult task.

這些年來,我就一直騎著摩托車在大橋上來來回回

In all these years, I have been traveling back and forth the bridge on a scooter.

如果沒有交通工具的話,在這個4577米長的大橋上救人挺困難的

It is hard to save lives on a 4577 metre  bridge without transport.

2005年,我的店關門了,我開始打工的日子,我換了幾份工作,但是幾乎都是在物流這個行業的

In 2005, my store was pulled down and I started working for others. I changed job a few times, but it is mostly on logistics.

如今我是一個物流公司老闆的助理,一個月工資2600元

I am now an assistant to the boss of a logistics company and earn  2600  YUAN a month.

我寫日記記錄我在橋上做了些什麼

I keep a diary on what I do on the bridge.

我只想將我的經歷寫出來,給心理學家或者受難的人們做參考

All I want to do is to get my experience on paper, so that psychologists or troubled people can take it for reference.

我沒受過什麼教育所以東西寫的也不是很好,沒有人願意出版

I am not well educated, so the text is not well written, and no one will publish it.

作為一介草民,我沒什麼資格去和別人分享我是怎麼救人的

As a commoner, I am not qualified to share how I saved lives.

現在我每週六周日都去救人,從早上8點到下午5點

Now, I save lives from 8 am to 5 pm on every Saturday and Sunday.

我將我救下來的人帶到我的“靈魂驛站”,我們在那兒會進行更深入的溝通

I bring people I saved to my “soul post”, where we talk further.

一些有心理學背景的志願者也會來幫忙

Some volunteers, with knowledge in psychology, would give a hand.

溝通結束後,我們會讓被救者的家人來接他或者我們送他回家

When the talking is done, we call the family or send the person home.

我守望大橋的方式就是騎著摩托車在橋上來回巡邏

Guarding the bridge is: patrolling back and forth on a scooter.

最困難的部分還是救人之後

The most difficult part is the follow up.

有時我救了一個人而他無處安身,我只能將他帶到小旅館裡,可是這樣做花費太大

Sometimes, I saved someone and he had nothing to stay. I could only bring him to a hostel but the charge is high.

我認為自殺不是一種現象而是需要全世界去關注的一種疾病

I think suicide is not a phenomenon but a illness that needs the whole world’s attention.

我希望能有個基金會能支持我,我希望能有更多人來加入我們,我希望我的行為能得到政府的支持

I hope to be supported by a foundation. I hope more people will join the cause. I hope to be supported by the government.

我並沒什麼夢想,當我還是個小孩時,我希望我的媽媽在我身邊

I do not have dreams. When I was small, I dreamt of having a mom.

當我長大後,我希望所有人都能過上平安,安寧的生活

When I am grown up, I hope for a safe and peaceful life. A safe and peaceful life for all.

我沒什麼做計畫去做這些事,我沒有時間去計畫什麼

I do not have plans. I don’t have time for plans.

還是有人跳橋自殺,而我的能力是有限的

People are still jumping off from the bridge. My power is limited.

我只能給他們的迷途送一點微弱的光

I could only be a lamp to shine their path.

Cyrus,我知道你因為你的電影沒有能像我這樣直接去拯救生命而感到有些沮喪

And Cyrus, I understand your frustration that your films do not as directly save lifes as I do.

但是我覺得你可以用你的電影去啟發人們

But I think you can use your films to enlight people.

你的電影能影響他們,改變他們的看法

Your movies can influence people and change their minds.

你可以用你的電影去點亮他們的生命,提倡我們應該珍愛我們的生命

You can use your film to enlight people and arouse a value that we should love our life.

所以我認為你做的事還是非常有意義的

So I think it is still meaningful.

我希望你一如既往的堅持下去

And I want you to keep doing this.

我想我們現在能和陳思進行現場連線

I think we have a Life connection with Chen Si right now…

END TEXT

—-

給觀眾或陳思的問題:

Possible questions for audience and Chen Si in phonecall:

我們怎麼去幫助陳思

How can we help Chen Si?

陳思如何幫助了我們

How can Chen Si help us?

我們如何把事情做的像陳思目前做的事一樣有意義

How can whatever we do be as important as what chen Si is doing?

藝術如何像陳思救人那樣拯救我們的世界

How can art help the world as much as what he is doing?

他說最困難的部分是救人以後,也許我們可以為他做點什麼

He said the most difficult part is the follow up.

Perhaps this is something we can help with.

END TALK

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