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！
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
電影導演（荷蘭） Film Director (Holland)
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。
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.
You can find the video from the following link:
MaD 2011 TALK
Script Production and Translation: Veronica WONG
(Start with HUG)
Then: This time pretend he or she is falling from a bridge.
My name is Cyrus Frisch
I am a filmdirector and producer from Holland
I have been called an enfant terrible, or an “agent provocateur”.
I don’t know why.
I’m only trying to make interesting films.
That make your blood flow a little faster. That are exciting to watch. That evoke emotion.
In other words I’m after the very same thing any other filmmaker is after.
Then why do they call me the “Wild man of dutch film”
Or even “Without a doubt the most provocative filmmaker in Holland”.
Ever since I went to filmschool I was amazed how much money it costs to make a film.
And not only that, it also asks a lot of energy of people.
To me this felt like a big responsibility:
I can only legitimize this to myself if somehow it
Is of importance.
But how to define importance??
At filmschool I was very young, not much experience with life yet.
My examfilm called Welcome
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.
The film tried to provoce some small questions about modern sexuality.
A harmless little film you might say.
Hans Beerekamp has been the most influencial filmcritic of the Netherlands for about 30 years.
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.
He really hated the film, and the few other shorts I had made by then.
This is what he said about my work:
If I think about Cyrus Frisch and his films, the first word that comes to mind is: Pathetic.
A rebel without a cause.
It’s decadence without style.
It’s as if someone is stirring his own dirt.
It’s not inspired by cinephilia, or any other examples.
It’s inventing Film all over again.
For his own sake. As a form of Self-pity.
It is a monologue from the first film I made after filmschool; called Self-Pity.
While this star journalist is tearing me and my films apart I am trying to drown myself in a fishbowl
apologizing for my existence and making a fool out of myself in any way I can think of.
This seemed like the most effective stategy to get him of my back.
The strategy worked.
This critic would never write anything about me again.
But it gave me a very strange feeling:
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…
What was the importance of this??!
It made me feel guilty.
I had the feeling I was wasting my talent.., on ego-centrism.
Self-pity is undoubtebly one of the most egocentric films ever made.
It did get me a some attention.
I was invited to come to different television-programs to tell about my work.
Among them was a program called Call-tv. I hated that program: it was probably the silliest gameshow on Dutch television at the time.
But it was live, and had a big audience.
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.
I would try to behave truly bad in every sense of the meaning.
And I did.
At first it just meant I said stupid, or bad things. But the host didn’t even seem to notice.
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.
It raised a lot of questions among the viewers and a vast amount started calling the network to complain.
But the boss of the programm in the control room told the host to act as if it was all part of the show.
And finally I decided to pretend I would have sex with the actrice – against her will.
This presented the network with an interesting dilemma.
By now they were indeed regretting the fact they had invited me to be their guest.
But at the same time they saw the amount of viewers rise by the minute,
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.
My behaviour attracted more viewers than they ever had before,
therefore they decided to let it go on and pretend that no matter what happened, it was all part of the show.
In the media my appearence in this show provoced a strong discussion about –the lack of- moral on Dutch television.
And suddenly I felt I found an important subject for a film.
I publicly challenged myself to make a film that is morally Unacceptable to my audience.
Every Day I could see bizarre and strange fiction on television – the manipulated realityshows from Oprah Winfrey, Jerry Springer and their dutch counterparts.
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.
By vigorously and openly exceeding the borders of the acceptable,
I hoped to get some understanding of the exploitation of human suffering on film and television and to stir up the opinions.
I wrote a script for a film called “Forgive me”.
And to get in contact with the physically or mentally handicapped people that i needed,
I moved from the most idyllic neigbourhood of Amsterdam, to the grim Geldersekade.
These “actors” would play themselves, we began filming brutal scene’s in which their dignity was taken away.
To me it was very clear that what we were doing was wrong.
But when a first edit was shown at the International Documentary Festival Amsterdam the critics reacted extremely positive.
I recieved appreciation for my attempt to say something sensible about the “growing acceptance of using other people’s lives for entertainment”.
This was NOT what I was hoping for.
In order to achieve my goal we had to go further.
I had to abuse these people even more.
I though of a play using the same “actors“.
I‘d put them on stage so that, after buying an expensive ticket, the cultural elite could laugh at the confused “actors” that
hardly knew the difference between “acted” emotional situations and their real quarrels.
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.
They were playing an exaggerated version of themselves because they felt this was what the audiences loved to watch.
As a consequence the play became more and more repulsive.
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)
It meant to show the danger –the confusement- of the increasingly blurred lines between documentary and fiction.
But if the actors and the spectators don’t have a problem with it, then who am I to judge?
It made me think a lot.., about the meaning of art. And the responsibility of an artist.
How can film or art become of real importance ??
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”;
the first narrative feature shot with a mobile phone, about a war-veteran seeing danger everywhere he looks.
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
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.
In the next film “Dazzle” the leading character feels guilty about watching people in need, and not doing anything to help them.
It concentrates on one specific scene she had witnessed of a bum living opposite to her window in a boat.
One ugly winters night the cold drove him crazy.
Literally. He started screaming he wanted to die, pleading to God to kill him.
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.
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:
How to deal with the suffering of others?
With the next film – called Blackwater Fever – I set out to formulate an answer.
This is what the leading character says in the opening scene of Blackwater Fever:
Images flow through my head that I can’t get rid of anymore.
When I look at myself, in the mirror…
I see a man who watches others perish.
I have the guts to look but not to do anything.
I don’t pick up the phone to call the police.
I don’t open the window to scream.
When I look in the mirror…
I see a murderer.
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.
He is suffering from Blackwater Fever, also called Malarial Hemoglobinuria.
One of the most dangerous complications of malaria.
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.
According to this film there are two ways to watch the misery of others.
One is from the comfortable position from behind a televison, or from within a car.
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.
If you don’t do anything to change it, it will catch up with you. Somehow, somewhere.
It will make you feel feverish. This fever can have many forms: anxiety, desperation, shame or guilt.
It might result in having you starting to watch differently.
You can for instance break -or lay aside- the mirror that misforms reality.
You can turn off the television, the laptop. Or stop the car and get out.
You can walk around, Smell, Touch and get in contact.
You can talk, raise your voice, Protest, Yell.
You can do Something. It may not seem much, but it makes the fever dissapear!
So… How to deal with the suffering of others?
The only right answer is to act, somehow.
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.
But what does the audience get from this???
Like most socially engaged filmmakers my films don’t do anything more than Creating so-called Awareness.
How does this make the world a better place?
The logical Next question for me in order to develop is; how to End the suffering of others?
How to solve it???
I started reading books.
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.
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!
That can’t be true, can it???
The worlds a rough place these days.
At least 840 million people suffer from chronic famine and are only one bad harvest removed from starvation.
Two billion people do not have access to electricity.
About two billion people have no safe way to dump their shit, because there is no sewer system.
Hundreds of millions of people are already on the brink of starvation. And we are raising another few Billions of hungry people.
The global population has mushroomed from 2.5 billion to over almost 7 billion in just the last fifty years.
Every single day we are welcoming a city the size of
Every month another London.
And every year a complete extra Germany to feed, clothe and water.
Hungry people don’t have the energy to work as hard.
Economists estimate that approximately 100 billion dollar is lost annually from developing world economies because of malnutrition.
Hungry people are sick people, and sick people in turn slide furter into poverty.
When people are desperate, undernourished, and without hope, they blame their governments, which they see as responsible for their problems.
They try to emigrate at any cost. They fight each other over land. They kill each other, They start civil wars.
They figure that they have nothing to lose, so they become terrorists, or they support or tolerate terrorism.
We should not conclude that these problems are to big to solve.
A friend of mine says:
History is not an army on a forward march.
History evolves and changes because of the actions of people.
We’re not passive victims of a future that is unfolding.
We can change things…
We don’t have to be as desperate as the leading character
in the last scene of Blackwater Fever.
We can make great strides in eradicating poverty and esthablish peace by spending less on weapons and war, more on education;
by taking a long-term view of the world’s problems,
by focusing on basic rights for every child,
by addressing conflict and injustice in every nation, and
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?
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.
For instance the World Health Organization estimates that providing the most basic health care in developing countries would cost 33 billion US dollars.
The additional funding needed to achieve universal primary education in developing countries that require help is estimated at 10 billion dollars per year.
And providing reproductive health care and family planning services to all women in developing countries is estimated at 17 billion dollar a year.
Altogether, reaching basic social goals and restoring the earth will cost 187 billion US dollars per year.
That might seem a lot, but comparing it with global military costs places it in perspective.
By shifting 13 only percent of the world’s military budget,
we can get rid of hunger, illiteracy, disease and poverty, stabilize world population, – AND restore the earth’s soils, forests and fisheries.
This would restore hope for everyone.
Every single person on the planet.
I remembered a small article from a Dutch newspaper that my girlfriend, Elena Simons, has given me a few years ago.
About a man in China who was rumored to be saving lives, simply by grabbing them before they jump from a bridge.
This man is called Chen Si.
And suddenly it hit me…
Suppose for a second that I would be the filmmaker that helped mankind get the priorities right!
Suppose I Would make that film that creates a social tipping point needed for the change that is needed to eradicate poverty and violence…
by simply shifting 13 percent of the world’s military budget… –
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,
or like someone – like the character in Blackwater Fever: who didn’t do anything wrong, but still considers himself a murderer.
Please look at him and ask yourself the question:
Why don’t we do anything?
Why don’t we do anything?
Why don’t we do anything?
(Approx. 50 times)
What do we do?
What do we do?
What do we do?
(Approx. 50 times)
What do we do that is As important as what Chen Si is doing?
That’s the question.
Fuck “To be or not to be…”
THIS is the question.
How can we ever look at ourself in the mirror NOT saving peoples lives……??????
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.
And they did.
They even went to Nanjing to meet him.
They asked him to answer some questions. And he wrote me a letter.
This is what it says.
LETTER from CHEN SI:
I am a simple person.
I left Jiangsu for Nanjing to find work in 1990.
I have been supporting myself by working at the lowest social stratum.
Initially I was a digger, but was thrown out without payment after a few months.
Me and a few fellow countrymen got together and found shelter at a relative’s,
and rag-picked to earn our bread.
Later, I managed to start a little grocery store and settled down in Nanjing eventually.
In 2000, when I was taking a break on the Nanjiang bridge in the middle of a delivery, I saved a person by accident.
This struck me tremendously: how nice it is when there is someone to hold you back when you are desperate!
After 2000, stories of suicides, mostly of migrant workers, flooded the media.
I felt deeply about this:
migrants do not have friends and families to support them through difficulties;
when they cannot take it any more, they can only choose to end their own lives.
In September 2003, my daughter entered primary school. She and my wife could help with the store on weekends.
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.
Since 2003, I have saved 194 lives.
I don’t see this as an achievement. Indeed,
I feel sorry for the lives I could not save.
Thus I persevered, although this is a tiring and difficult task.
In all these years, I have been traveling back and forth the bridge on a scooter.
It is hard to save lives on a 4577 metre bridge without transport.
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.
I am now an assistant to the boss of a logistics company and earn 2600 YUAN a month.
I keep a diary on what I do on the bridge.
All I want to do is to get my experience on paper, so that psychologists or troubled people can take it for reference.
I am not well educated, so the text is not well written, and no one will publish it.
As a commoner, I am not qualified to share how I saved lives.
Now, I save lives from 8 am to 5 pm on every Saturday and Sunday.
I bring people I saved to my “soul post”, where we talk further.
Some volunteers, with knowledge in psychology, would give a hand.
When the talking is done, we call the family or send the person home.
Guarding the bridge is: patrolling back and forth on a scooter.
The most difficult part is the follow up.
Sometimes, I saved someone and he had nothing to stay. I could only bring him to a hostel but the charge is high.
I think suicide is not a phenomenon but a illness that needs the whole world’s attention.
I hope to be supported by a foundation. I hope more people will join the cause. I hope to be supported by the government.
I do not have dreams. When I was small, I dreamt of having a mom.
When I am grown up, I hope for a safe and peaceful life. A safe and peaceful life for all.
I do not have plans. I don’t have time for plans.
People are still jumping off from the bridge. My power is limited.
I could only be a lamp to shine their path.
And Cyrus, I understand your frustration that your films do not as directly save lifes as I do.
But I think you can use your films to enlight people.
Your movies can influence people and change their minds.
You can use your film to enlight people and arouse a value that we should love our life.
So I think it is still meaningful.
And I want you to keep doing this.
I think we have a Life connection with Chen Si right now…
Possible questions for audience and Chen Si in phonecall:
How can we help Chen Si?
How can Chen Si help us?
How can whatever we do be as important as what chen Si is doing?
How can art help the world as much as what he is doing?
He said the most difficult part is the follow up.
Perhaps this is something we can help with.