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Of the allegations that Allen abused his adopted daughter Dylan Farrow,
針對艾倫虐待其養(yǎng)女迪倫·法羅的指控，
she has said that she would not have worked with him had she known what she knows today, and she won't work with him in the future.
葛韋格說，如果當(dāng)時她知情她就不會和他合作了，她還說自己今后不會再和他合作了。
Farrow tweeted her appreciation in response, writing, "Thank you for your words. Please know they are deeply felt and appreciated."
法羅發(fā)推文感謝了葛韋格，她寫道：“謝謝你說了那些話，請記住，那些話深深地映入了我的心里，我很感激。”
The meticulous preparation Gerwig put herself through, over many years, seems less typical of young male directors.
多年來葛韋格一絲不茍付出的那種努力，在年輕的男導(dǎo)演身上似乎并不多見。
"It might be gendered, it might be a variety of other things. I had this sense of needing to be prepared," she says.
“這個行業(yè)可能跟性別有關(guān)，也可能跟別的一系列的東西有關(guān)。但我還是覺得我需要做好準(zhǔn)備，”她說。
"It does seem to be something women struggle with more."
“導(dǎo)演似乎確實是女性需要付出更多的以一個行業(yè)。”
But she knew when the time had come:
機會來臨時，她是知道的：
"It does reach a point where you think, If I fall on my face and it's dreadful and everybody says it's dreadful, I'd rather have tried than not."
“確實會有想如果自己失敗了，敗得很慘，而且大家都會說我敗得很慘怎么辦的時刻，但我還是要嘗試。”
Now she is eager to apply her talents to a different kind of story.
如今，她已經(jīng)迫不及待想用自己的才華嘗試講述不同類型的故事了。
She isn't bound to the constraints of modest indies, she says.
她說，她不會局限在拍攝小成本的獨立電影上。
In fact, she wants to make a leap in scale, in the mold of Spielberg, who in her view has mastered the art of making genre movies personal.
事實上，她希望在斯皮爾伯格——在她看來，斯皮爾伯格已經(jīng)掌握了將類型片個人化的藝術(shù)——的模式中實現(xiàn)影片規(guī)模的飛躍。
While Lady Bird trades in purposefully "unadorned cinematic language" —conversations in cars and schoolyard skirmishes—for her next trick she'll need CGI and special-effects teams.
盡管《伯德小姐》有意選用了“樸素的電影語言”—— 發(fā)生在車?yán)锏膶υ捄托@里的小沖突——但要拍好下一步電影，她還是需要CGI和特效團隊。
She'll act again, for the right director with the right project—this summer she'll shoot a drama with the French director Mia Hansen-Love—but her priority is clear.
以后她也還是會出演電影，遇到合適的導(dǎo)演和合適的作品的話，—— 這個夏天她就要和法國導(dǎo)演Mia Hansen-Love一起拍一部電視劇——但她很清楚自己的工作重點。
"It's important to know at any given moment what you would drop everything for," she says. "I would drop everything to write and direct movies."
“任何時候，知道自己最愿意為什么事情不顧一切是很重要的，”她說。“我愿意為了寫作和導(dǎo)演放棄一切。”
For years, there has been a sense that Hollywood is on the precipice of a change that never arrives.
多年來，人們一直覺得好萊塢馬上就要變革了，但變革遲遲未來。
The so-called Bridesmaids effect, proclaimed following that film's blockbuster performance in 2011, failed to fully come to fruition.
所謂的“《伴娘》效應(yīng)”，在該片2011年票房大賣之后誕生的一個詞匯，并沒能完全成熟。
In 2017, many wondered if the Wonder Woman effect would prove similarly meaningless.
2017年，許多人又想知道“《神奇女俠》效應(yīng)”是否會同樣毫無價值地收場。
But women's ups and downs in the industry are as old as Hollywood itself.
問題是，自從好萊塢誕生之日起，這個行業(yè)里的女性就一直在經(jīng)歷風(fēng)風(fēng)雨雨。
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