《獨家專訪》
李安談新片《胡士托風波》和內心世界
文 Kam Williams 譯 顏伶如
美國影評專欄作家威廉斯（Kam Williams）6月15日為《全球中央》雜誌專訪台灣導演李安，暢談新片《胡士托風波》（Taking Woodstock）及其他話題。以下是專訪全文：
李安1954年10月23日生於台灣南部屏東縣的小鎮潮州，在管教甚嚴的父母養育下成長。李安雙親對於教育非常重視，尤其注重傳統中華文化素養。李安在國立臺灣藝專畢業，服完兵役之後赴美求學，取得伊利諾大學香檳分校戲劇系學士學位，以及紐約大學電影製作研究所碩士學位。
李安初執導演筒的作品是1992年的《推手》，這部喜劇片描述一名退休後移居美國與早已洋化兒子同住的太極師傅，呈現傳統與現代之間的緊張對立。接下來他陸續於1993年（《喜宴》）及1994年（《飲食男女》）推出兩部電影，都入圍奧斯卡金像獎最佳外語片角逐。
接下來，這位多元發展的導演成功地處理不同類型的電影，表現令人刮目相看，執導作品包括一部經典文學電影（《理性與感性》），一部描述家庭功能失調的劇情片（《冰風暴》），一部美國西部片（《與魔鬼共騎》），一部以男同志為主題的愛情片（《斷背山》），一部充滿大膽愛慾的諜報驚悚片（《色戒》），一部取材卡通漫畫原著的改編（《綠巨人浩克》），還有一部中國功夫的浪漫故事（《臥虎藏龍》）。
雖然「臥虎藏龍」如願抱回奧斯卡最佳外語片獎座，早就值得獲獎的李安，卻沒能以此片導演的身分獲得美國影藝學院肯定。2006年，他終於以《斷背山》贏得奧斯卡最佳導演。這部描述男同性戀戀情的電影，由已故影星希斯萊傑主演。在訪問中，李安談到他的新片《胡士托風波》，這部喜劇片描述1969年創造轟動的演唱會，這場演唱會也界定了「嬉皮世代」的意涵。
Kam Williams: Mr. Lee, thanks so much for the time. I,m honored to be speaking with you.
威廉斯：李先生，謝謝抽空接受訪問。很榮幸採訪您。
Ang Lee: Oh, you,re welcome.
李安：喔，不客氣。
KW: What interested you in telling this particular story？
威廉斯：是什麼讓您感到有興趣，想要拍這部電影？
李安指導新片《胡士托風波》拍攝情況，無論是室內布置或戶外場景，都呈現出濃厚的60年代味道。取自rotten tomatoes影評網站，Focus Features電影公司
AL: Well, a couple things. It just came upon me. While I was at a TV station in San Francisco promoting my last movie, Lust, Caution, I met Elliot Tiber, the author of Taking Woodstock. We were both appearing on the same show. He was coming on after me. When my segment had finished, while they were preparing for him, he gave me a two-minute pitch. It struck me, because years ago I had made The Ice Storm, which was set in 1973, as a sort of hangover of 1969. So, my mind became really intrigued thinking about ,69 when he started telling me about Woodstock and some of the anecdotes. Also, I was looking to do a comedy, after shooting a series of six tragedies in a row. So, I read the book, and it all just happened very quickly.
拍《胡士托風波》全屬機緣
李安：嗯，有一、兩個因素；可以說是突然想到的。我到舊金山為上一部電影《色戒》宣傳時，在一家電視台碰到《胡士托風波》原著作者艾里特泰柏（Elliot Tiber）。我們參加同一齣節目，他排在我之後出場。等到我的錄影結束了，製作單位正準備接著讓他錄影時，他花了兩分鐘向我介紹這個故事，馬上引發我的興趣。因為很多年前我拍了背景為1973年的《冰風暴》，那個年代可以說是1969年的後續延伸。因此，當他開始跟我講伍德史托克（胡士托）以及種種相關軼事時，1969年這個構想引起我非常高的興趣。另外，因為我已經連續拍了六部悲劇了，那時候我也正在考慮要拍喜劇片。因此，我讀了原著小說，然後很快就決定了。
KW: You,re a very versatile director. Do you feel any pressure to make movies about China ?
威廉斯：您是非常多元的導演。您會不會感到有壓力必須拍與中國有關的電影？
AL: Chinese culture is my roots… where I grew up… Taiwan… So, yes, I do feel compelled and also a lot of pressure to make Chinese movies. But they take a lot out of me. It is very hard for me to make art out of them. [Chuckles] It,s too close. It can be painful and very heavy. Plus, I want to upgrade the production to the level I think it is in America. That,s an added stress for everyone who works with me, and even on the audience, too. I,m kind of in the vanguard of the industry,s development and cultural events, and that adds a lot of weight on me. It,s just not freedom. After I make a Chinese film, it takes so much out of me that I usually feel like I need to do a few English films to recover. [Laughs]
李安：中國文化是我的根，我在台灣長大……所以，是的，我確實感到有必要同時也有壓力要拍華語片。但拍攝這些電影讓我身心都付出很多，這當中很難讓我創作藝術出來；（笑）因為太過貼近了，會有痛苦與沉重的感覺。還有，我想提升製片水準與美國一樣，這對與我共事的每個人都帶來額外壓力，甚至對觀眾來說也是一樣。
我就像是捍衛電影業發展和文化事件的先鋒部隊一樣，這對我來說也增加許多負擔，總之，就是缺少了自由。在我拍了一部華語片之後，因為身心消耗實在太多，我常常覺得需要拍幾部英語片才能恢復。（笑）
KW: How is making a movie in America more free?
威廉斯：為什麼在美國拍電影比較自由？
AL: Nobody makes movies like America, where you have a very healthy support of the industry, abundant materials and worldwide distribution. So, by doing English-language films you can fulfill a lot of dreams. That,s the freedom part of making non-Chinese films.
美國拍片條件佳 無處能比
李安：美國拍片的條件狀況是無人能比的，在這裏你會得到來自電影圈的大力支持，物資材料非常豐富，還有全球發行的通路管道。因此，透過拍攝英語片，你可以實現很多夢想。這是拍攝非華語片的自由之處。
KW: I remember when I attended a critics, screening of Crouching Tiger before it opened, there was cheering in the middle of the movie simply at the stunning special effects. All of us knew we were witnessing something very special.
威廉斯：我記得我參加《臥虎藏龍》北美首映前舉辦的影評試映會時，電影當中令人歎為觀止的特效都會獲得喝采。我們所有人都深深瞭解，正欣賞著一部非常特別的影片。
AL: I hope that emotion was part of that cheering, too. I went back to my childish wishful thinking. It,s a fantasy. In some way, you relate to the innocence when you go to the movies to begin with. I think the movie deals with my innocence, and a lot of people could relate to that. Because it was a foreign film and because it was martial arts, it was something that they were sort of aware but didn,t quite know. I think that allowed people to go to an emotional world which fulfilled their fantasies. I think that,s why that movie works, but I didn,t have that in mind when I made it.
李安。（中央社鄭傑文）
《臥虎藏龍》裡有李安的內心世界
李安：我希望觀眾喝采的也包括電影中表達的情感。我回到童年時期的憧憬，天馬行空的夢想。從某些角度來看，當你進戲院看電影時，就與那份純真產生了關聯。我認為，這部電影就是剖析我純真的那部分，很多人也能感同身受。因為它是外語片，而且有功夫，很多人可能有察覺到這一點，卻又好像無法確知。我想，這讓觀眾可以進入到一個充滿他們自己憧憬幻想的情感世界裡頭去，這就是這部電影能引發迴響的成功之處，不過我在拍片過程中並沒有想到這些。
KW: I also remember being upset that Crouching Tiger did not win the Academy Awards for Best Picture, Best Director, Best Script Adaptation and Best Editing. I know you,re much too polite to say it, but I can say it for you. You were robbed! I wrote that at the time. I also thought it was a crime that none of the actors in the movie were even nominated, especially Chow Yun Fat, Michelle Yeoh and Ziyi Zhang. And the same thing happened this year to the actors in Slumdog Millionaire. None were nominated, yet it won Best Picture.
威廉斯：我還記得，《臥虎藏龍》沒得奧斯卡最佳影片、最佳導演、最佳改編劇本與最佳剪輯的時候，我感到生氣及難過。我知道您非常客氣謙虛因此不方便講，但我可以代表您講，那就是您這些獎座根本是被搶走了！那時候我就這樣寫過。我也認為，這部電影裡沒有任何演員入圍個人演技獎項，尤其是周潤發、楊紫瓊還有章子怡居然都沒入圍，簡直可恥。同樣的狀況也發生在今年的《貧民百萬富翁》演員們身上；沒有任何演員入圍個人獎項，但最後這部影片卻獲得最佳影片。
AL: Well, there,s a community in Hollywood , I think, the Academy. Sense and Sensibility got nominated in seven categories, including Best Picture, but I was not nominated. I guess it might take a few movies for them to become aware of you. [LOL]
李安：嗯，我想，在好萊塢裡頭有一個小社區就是美國影藝學院。《理性與感性》獲得奧斯卡七項提名，包括最佳影片，但我並沒有入圍。我想，可能要多拍幾部電影，才能讓他們開始注意你吧。（大笑）
KW: Let,s talk a little about Taking Woodstock. I haven,t seen the movie yet. It,s based on the memoirs of a gay man. Did you keep in much of his childhood?
威廉斯：我們來談談《胡士托風波》。我還沒看過片子，它是改編自一位男同性戀者寫的自傳，您是否有觸及他的童年時期？
AL: No, I didn,t use much about how he grew up. That,s too long a story to tell. I started with his encounter with Woodstock. Honestly, I didn,t find a lot of his gay issues to be that fresh. My main interest was in seeing how he connected to Woodstock, the event, from his angle. We don,t get to see the stage. That,s sort of besides the point. I followed the lead of the book. If you take Woodstock to heart, that,s what happened to most of the people who attended, and to the world at large. Woodstock,s sort of an abstract idea that,s very inspiring. The film is a small family drama focusing on his experience just on the outskirts of the stage and the event. It,s probably a very good way to have a slice and taste of Woodstock. He,s gay and everything, and we deal with that, but only in so far as it pertains to Woodstock.
同性戀議題不是「胡」片焦點
李安：沒有，我並沒有採用太多有關他成長過程的部份，故事本身太長了。我以他與胡士托音樂節的相遇做為開頭。坦白講，我不認為他身為同性戀的議題有那麼多新鮮感。我把主要焦點放在他如何跟胡士托產生關係，從他的角度來看這場事件。我們看不到舞台，那不是重點。我跟著小說的腳步走。如果你把胡士托音樂節放入心裡，如同當年恭逢其盛的大多數人還有一般世人而言，胡士托可以說是一個具有高度啟發性的抽象概念。這是一部小規模的家庭劇情片，重點集中在於他在舞台週邊發生的個人境遇；這可能是淺嘗胡士托的極佳方式。至於他身為同性戀及其他方面的重點，我們有觸及這些部分，也只處理到與胡士托音樂節有關的部分。
KW: Ling-Ju Yen was wondering whether since winning your Academy Award for Best Director you feel pressure from either people at home or from the media that, from this point on, every single movie you make has got to be Oscar-worthy?
威廉斯：中央社記者顏伶如提問，自從您贏得奧斯卡最佳導演之後，台灣許多觀眾與媒體似乎認為接下來您拍每部影片都要具有奧斯卡價值，對此您會不會覺得有壓力？
AL: I don,t think anybody,s saying that I have to win an Oscar or have to shoot for it. But I just came back from the Cannes Film Festival, and they certainly talk about it. So, that,s a kind of pressure, but only my personal feelings. If I can put that aside, I don,t think anybody really gets upset. [Chuckles]. It,s not like the sort of pressure the Lakers feel playing for the City of Los Angeles. With a movie, people sometimes speculate about whether an actor or actress who did a good job might get nominated. It,s a plus for the project, but you don,t always aim for the awards.
拍片不能老以奧斯卡為目標
李安：我不認為有任何人說我必須再贏一座奧斯卡，或者還要為奧斯卡而拍片。不過，我剛從坎城影展回來，大家當然有講到這個。因此，某種壓力是有一點的，但只是我個人感受而已。如果我可以把它放到一邊，我想不會有人覺得不高興。（笑）這跟湖人隊代表洛杉磯打球所承受的壓力不一樣。對電影來說，大家有時候會揣測某某男星或女星表現好不好，會不會獲得提名；這對影片本身來說是有益的，不過不能老是以奧斯卡為目標。
KW: You directed the late Heath Ledger to his first Academy Award-nominated performance in Brokeback Mountain. How did you feel when he died and what did you think of his Oscar-winning outing as The Joker in The Dark Knight?
威廉斯：已故影星希斯萊傑在您執導《斷背山》裡的表現，讓他獲得第一次奧斯卡提名。您對他的過世有何感受？對於他贏得奧斯卡男配角的《黑暗騎士》小丑角色演出又有何看法？
AL: that,s a hard question for me to answer. I was eager to see the movie, but I delayed, because I wanted to avoid it, too. Finally, about two or three weeks after it was released, I went to see it. It was quite disturbing, especially with him playing that character. I didn,t have a good time. It disturbed me to watch him. It was just very difficult, personally.
李安：這個問題對我來說不容易答覆。我滿急迫想去看這部電影，但卻遲遲沒看，因為我同時也想逃避。最後，當電影上映約兩、三週之後，我終於去看了。我的感受頗為不安，特別是看到他飾演這個角色。我並不好受，觀看他的演出讓我覺得不安。對我個人來說，是非常痛苦的。
KW: You were at NYU at the same time as Spike Lee. Is there any truth to the rumor that you were the cinematographer on his student film, Joe,s Bed-Stuy Barbershop?
威廉斯：您與史派克李就讀紐約大學的時間一樣。外傳您曾擔任他學生電影 Joe,s Bed-Stuy Barbershop 的攝影，請問傳聞是否屬實？
AL: He was a year ahead of me. I was a camera assistant, but not the only one.
李安：他比我高一屆。我擔任的職務是攝影助理，但攝影助理不只我一個。
KW: Is there any question no one ever asks you, that you wish someone would?
威廉斯：有沒有什麼問題是從來沒有人提問過，但你希望被問到的？
AL: No, not off the top of my head. I really wish they asked fewer questions. [Laughs]
李安：沒有，一時之間並沒想到什麼問題。我真的希望他們問我的問題能少一點。（笑）
KW: Are you ever afraid?
威廉斯：你曾經害怕過嗎？
AL: Yes. Fear is actually one of the motivations for me to take on something. It gives me the thrill.
李安：有。實際上，害怕是促成我動手做某些事情的因素。它會讓我感到激動興奮。
KW: Are you happy?
威廉斯：你快樂嗎？
AL: Yes.
李安：是的。
KW: When was the last time you had a good belly laugh?
威廉斯：你上一次捧腹大笑是什麼時候？
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（更多精采內容請參見《全球中央》雜誌七月號）