小偷家族 小偷家族 8.7分

“唯有犯罪将我们相连”——是枝裕和访谈

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2018-06-29 看过
提示:这篇影评可能有剧透

“Only the crimes tied us together.”

译自影片的Official Press Kit

注意:本访谈有轻微剧透。

您在听说了一些关于违法领取已故老人养老金的事之后决定拍《小偷家族》,您是原本就想从一个不同于您此前作品的角度去拍这个家庭吗?

是枝裕和:我最开始想到的是一句标语,“唯有犯罪将我们相连”。在日本,骗取养老金和父母唆使孩子去行窃这类罪行是会被严厉谴责的,当然,这些行为理应受到谴责,不过我常在想,为什么人们会如此气愤于这些轻微的违法行为,即便是还有许多犯下了更严重罪行却没有受到责罚的罪犯。尤其在2011年大地震之后,我并不是很认可大家总是强调家庭羁绊很重要,所以,我想要通过拍这个因犯罪相连的一家去探讨这点。

这种羁绊是电影中心,其他主题围绕着它展开,您能就此谈谈吗?

是枝裕和:确定选角之后,我开始回想有哪些主题是还未探讨或者值得深入审视的,这部电影包含了很多我在过去十年里不断思索与探究的主题,影片是一个说家庭意义的故事,关于一位想成为父亲的男人,同样,它也是一个男孩的成长故事。

片中处境贫困的一家会让我们想到《无人知晓》,您可以谈谈两部影片的相似之处吗?

是枝裕和:《小偷家族》与《无人知晓》会让人觉得相似,大概是因为它们都是关于大家常会在新闻中看到的那类“被罚”之家,我的本意并不是想要去拍一个贫穷的家庭,或是社会底层阶级。我更希望看到他们最终是在那座坍塌的房子中相聚。我希望能从另一个角度展现这样一个家庭。

这一家人被分开的场景真是令人心碎,如此直白地去展现您对社会不公的愤怒,这在您最近的作品中并不常见,你能就此谈谈吗?

是枝裕和:是的,也许在《无人知晓》之后就没有了,“愤怒”大概是我在拍这部影片时所背负的主要情绪。自从《步履不停》开始,我就拼命地想要深挖又将自己禁锢于人性主题,在拍完《比海更深》之后,我决定不再一昧地将自己的视角局限于此,而是应望眼社会,可以说,我是回到了我开始的地方。

可以谈谈你为什么想与摄影师近藤龙人(《横道世之介》)与作曲家细野晴臣(《咕咕是一只猫》)合作吗?

是枝裕和:我一直很想同近藤先生合作,我认为他是如今日本电影届最好的摄影师。他拥有那种“导演”视角,对于故事和人物都有深刻的见解,这也让我得以平衡我的精力,让我可以专注于指导演员,不用担心摄影。在开拍之前,我会将影片设想成某种寓言,寻找并构建现实中的诗意,即便电影是写实风格,我仍希望能描绘出人类的诗意,摄影和配乐能贴合我的想法。配乐方面,我一直很喜欢细野先生所做的电影配乐,并希望有机会与他合作,他创作的音乐捕捉到了影片故事梦幻的一面。

You decided to make this film after learning about incidents of families illegally receiving the pensions of parents who had already died years ago. Was your intention to depict a family from a different angle compared to your previous films?

The first thing that came to my mind was the tagline: “Only the crimes tied us together”. In Japan, crimes like pension frauds and parents making their children shoplift are criticized severely. Of course, these criminals should be criticized but I am wondering why people get so angry over such minor infractions even though there are many lawbreakers out there committing far more serious crimes without condemnation. Especially after the 2011 earthquakes, I didn’t feel comfortable with people saying repeatedly that a family bond is important. So I wanted to explore it by depicting a family linked by crime.

The theme of this bond is central and other elements are added to it. Can you comment on this?

I started to think about which elements were unfolded and would be examined deeply after the casting was settled. As a result, this film is packed with the various elements I have been thinking about and exploring these last 10 years. It is the story of what family means, a story about a man trying to be a father, and furthermore, a coming-of-age story of a boy.

The impoverished family in the film reminds us of Nobody Knows. What can you say about the similarity between that film and Shoplifters?

Shoplifters might be similar to Nobody Knows in the sense that this film also explores closely the sort of “punished” families we regularly see in news reports. It wasn’t my intention simply to describe a poor family, or the lower levels of the social strata. I rather think that the family in the film ended up gathering in that house not to collapse there. I wanted to shine a light on such a family from a different angle.

The later scenes showing the family being split up are heartbreaking. We haven’t seen such anger at social injustice shown so nakedly in your recent films. Can you comment on that?

It’s true, maybe not since Nobody Knows. The core emotion when I was making this film might have been “anger”. Since Still Walking, I have dug desperately deeper and more narrowly into the motif of personal things and after finishing After The Storm, I put the end to this approach of not broadening my vision to society, of minimizing as much as possible. It could be said that I have gone back to where I started.

Can you tell us why you decided to work with Kondo Ryuto (DP) and composer Hosono Haruomi?

I have always wanted to work with Mr. Kondo as I think he is one of the finest cinematographers currently working in the Japanese movie industry. He has very much a “director’s” point of view, with a deep interpretation of story and character. So it was a good balance that allowed me to focus on directing the actors without having to worry about the cinematography. Before the shoot, I was thinking of this film was kind of a fable and sought ways to find and build poetry within reality. Even if the film was realistic, I wanted to describe the poetry of human beings and both the cinematography and music came close to my vision. As for the music, I have been a fan of Mr. Hosono’s film scores in his previous works so I have always looked for an opportunity to work with him. In this film, his music captures the fantasy side of the story.

Sources:Official Press Kit

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