評(píng)論
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William Chang Suk-ping was busy on a Beijing film set when he got a phone call from his octogenarian mother, who lives in Hong Kong. She'd read in the newspaper that his costume designs for 'The Grandmaster,' directed by Wong Kar-wai, were nominated for an Academy Award. She told him: 'You have to go!' Several friends also got in touch, urging him to attend the March 2 ceremony. 'Everyone is calling, trying to convince me to go because they all thought I won't go since they know I don't like attending awards,' Mr. Chang recently said, laughing. 'But of course I'm going to the Oscars. At least once, right?'
當(dāng)張叔平(William Chang Suk-ping)接到他年邁的母親從香港打來的電話時(shí)，他正忙著為一部電影布景。他的母親在報(bào)紙上看到了他憑藉《一代宗師》(Grandmaster)獲得奧斯卡金像獎(jiǎng)(Academy Award)最佳服裝設(shè)計(jì)提名的消息。她對(duì)張叔平說，你必須去！還有幾位朋友也聯(lián)系了他，力勸他出席3月2日舉行的奧斯卡頒獎(jiǎng)典禮。張叔平笑著說道，大家都給我打電話，想要說服我出席典禮，因?yàn)樗麄兌加X得我不會(huì)去，他們知道我不喜歡出席頒獎(jiǎng)典禮，不過，我肯定會(huì)去奧斯卡的，至少得去一次，對(duì)嗎？
The Oscar nomination recognizes the 60-year-old Mr. Chang's meticulous interpretation of Chinese style from the early 1900s to the 1950s. The honor comes after almost four decades of filmmaking punctuated by dozens of international accolades--including a technical prize at Cannes for 'In the Mood for Love,' set in the 1960s Hong Kong of his childhood. Famously publicity-shy, the multitasking Mr. Chang has art-directed, designed costumes for, and edited all of Mr. Wong's feature films, and has worked with nearly every major Chinese director.
奧斯卡提名是對(duì)張叔平細(xì)致入微地刻畫從二十世紀(jì)初到二十世紀(jì)五十年代中國(guó)風(fēng)格的認(rèn)可。在近四十年的電影制作生涯中，張叔平曾摘得數(shù)十項(xiàng)國(guó)際大獎(jiǎng)，其中包括憑藉《花樣年華》(In the Mood for Love)在戛納電影節(jié)獲得的技術(shù)大獎(jiǎng)。張叔平多才多藝，常常身兼數(shù)職，王家衛(wèi)導(dǎo)演的所有故事片都由他擔(dān)任藝術(shù)指導(dǎo)、服裝設(shè)計(jì)和剪輯。他和幾乎所有中國(guó)大導(dǎo)演都有過合作。
Straight from dim sum in Hong Kong with his mother and brother, he spoke with the Journal about his careers in film and interior decoration, shopping on eBay for inspiration, and his pursuit of authenticity in Chinese design. Edited excerpts:
從香港的點(diǎn)心聊起，張叔平和本報(bào)記者談到了他的電影和室內(nèi)設(shè)計(jì)工作、在eBay購(gòu)物尋找靈感以及他對(duì)中式設(shè)計(jì)真實(shí)性的追求。以下是訪談?wù)?/div>
Usually editing, production design and costume design are different jobs on a movie set, but you did all of these for 'The Grandmaster.' How did you juggle them?
問：通常，剪輯、造型設(shè)計(jì)和服裝設(shè)計(jì)在電影制作中屬于不同的工作，但你在《一代宗師》中卻身兼三職，你是如何做到同時(shí)兼顧這些工作的？
They all concern the look of the film. Art direction is about the texture, the feeling, the lighting. Editing is creating the rhythm, the timing, a sense of flow. Mixed together, you can create a world. It makes people believe.
答：這些工作都與電影的視覺效果相關(guān)。藝術(shù)指導(dǎo)是關(guān)于質(zhì)地、感覺和燈光。剪輯則是創(chuàng)造韻律、節(jié)奏和流動(dòng)感。這些工作加在一起，就可以創(chuàng)造一個(gè)世界。它讓人們相信。
What was your biggest challenge in making sets for 'The Grandmaster'?
問：你在《一代宗師》布景工作中遇到的最大挑戰(zhàn)是什么？
The brothel is so elaborate. We found a similar house with gold carving in Guangdong [province in southern China]. We hired carving guys, did the gold leaf. The lighting fixtures we hand-made. Everything we created. We needed quantity so we could not just buy. Even spoons, bowls, silver chopsticks, wineglasses--all of this we had made.
答：妓院的布景相當(dāng)復(fù)雜。我們?cè)趶V東找到了一座類似的金樓。請(qǐng)了雕刻師傅來制作金箔。燈具是我們手工制作的。每一樣?xùn)|西都是我們創(chuàng)造的，我們要求的質(zhì)量很高，因而不能一買了事。就連勺子、碗、銀筷子、玻璃酒杯，所有這些都是我們自己做的。
The film spans the first half of the 20th century. What was your research for the costumes?
問：電影故事的時(shí)間背景跨越了二十世紀(jì)上半葉。你是如何研究服裝的？
Mostly old pictures, documentaries, old films. I want to show something to be as authentic as possible. I'd never done the 1900s or 1920s. There are four kinds of silhouettes [in the film]. We had to do research very carefully so we wouldn't mix up the details. Most people will hardly notice, but the details differentiate the periods.
答：多數(shù)時(shí)候是通過研究老照片、紀(jì)錄片和老電影。我希望展示盡可能真實(shí)的服飾。我們需要非常仔細(xì)地進(jìn)行研究，這樣才不至于把細(xì)節(jié)弄混。大多數(shù)人很難注意到這些細(xì)微差別，但就是這些細(xì)節(jié)把年代區(qū)分開來了。
What is your costume team like?
問：能談?wù)勀愕姆b團(tuán)隊(duì)嗎？
I had 18 tailors, many who I trained a long time. Then I also had eight people to do embroidery, trimming, piping, beading. We designed the jewelry. We bought cheap jade, then had real jewelers use real gold because I wanted the color and the mounting. My team is mostly from China. It took one and a half years to produce the costumes for just the ladies in the brothel. We made, like, 120 cheongsams. For winter scenes, we had others hand-stitch the quilts, to do the fur lining. We bought vintage Western fur coats from eBay and remade them.
答：我有18位裁縫師，他們中的很多人經(jīng)過了長(zhǎng)期培訓(xùn)。我還有八個(gè)人負(fù)責(zé)刺繡、鑲邊和串珠這些工作。我們自己設(shè)計(jì)珠寶首飾。我的團(tuán)隊(duì)大多來自中國(guó)。單是制作妓院里的女子所穿的服裝就耗費(fèi)了一年半時(shí)間。我們大概縫制了120件旗袍。針對(duì)冬天的場(chǎng)景，我們還有其他人縫制棉被，制作毛皮襯里。我們?cè)趀Bay上購(gòu)買老舊的西式毛皮外套，然后重新改裝。
Do you use eBay a lot?
問：你經(jīng)常使用eBay嗎？
Yes. I have an assistant who just does eBay searching. Sometimes just small things like handkerchiefs. The things are from all around the world. Also hats, shoes, handbags. Even if I cannot use them, I need the shape and the look I can reproduce.
答：是的。我有一位助手，他的工作就是在eBay上搜索東西。有時(shí)候只是像手帕這樣的小玩意。還有帽子、鞋和手袋，這些東西來自世界各地。即便我用不上它們，我也可以根據(jù)它們的形狀和樣子進(jìn)行再制作。
Do you have an archive?
問：你會(huì)把設(shè)計(jì)過程中的點(diǎn)點(diǎn)滴滴存檔嗎？
I don't like to keep things. I do a rough sketch, give it to my tailor and he throws it away after. What's done is done. I don't reuse things for different films.
答：我不喜歡保存東西。我會(huì)畫一個(gè)大致的略圖，交給我的裁縫師，他用完后就扔掉了。過去的就讓它過去吧。我不喜歡在不同的影片中重復(fù)使用同一種東西。
Are costumes still fun for you?
問：你仍能在電影服裝中找到樂趣嗎？
Yes. I would like to do a film in the Song dynasty--very subtle, very minimal. Or the opposite in the Tang dynasty, so elaborate, so garish. I have not done these before.
答：是的。我希望參與制作一部故事背景設(shè)定在宋朝的影片，非常細(xì)膩，非常簡(jiǎn)約。或反過來設(shè)定在唐朝的影片，非常精致，非常華美。這些都是我以前從未做過的。
What are your other creative interests?
問：你還對(duì)哪些需要?jiǎng)?chuàng)意的工作感興趣嗎？
Everything I want to do is in art direction--I can be a graphic designer, an interior designer, a fashion designer--it's all in film. I also work on commercials. I do interiors, which is like set design. I used to paint.
答：我想做的一切事情都可以通過藝術(shù)指導(dǎo)實(shí)現(xiàn)，在影片制作過程中，我可以做平面設(shè)計(jì)師、室內(nèi)設(shè)計(jì)師、服裝設(shè)計(jì)師。我還參與廣告制作。我做室內(nèi)設(shè)計(jì)，就像布景設(shè)計(jì)一樣。我過去畫過畫。
What art do you like now?
問：你現(xiàn)在喜歡哪種藝術(shù)？
When I work in China, I go to museums and galleries. I collect some paintings by Chinese artists. I like Zhang Enli. I like more-abstract painting. For Chinese, abstract painting is not so popular, but I like things that need more imagination. I also like sculpture. I have two small ones by Antony Gormley. I love the big ones, but they are too expensive. Sculpture has construction. When I'm doing clothes, I am interested in structure. Cheongsams in the 1920s and 1930s had no darts, but had shape from the way the tailor ironed, twisted and cut the fabric. I told my tailor: 'You have to do it like this.'
答：我在中國(guó)工作時(shí)，會(huì)去博物館和畫廊。我會(huì)收藏中國(guó)藝術(shù)家的一些畫作。我喜歡張恩利。我喜歡偏抽象的畫。對(duì)中國(guó)人來說，抽象派的畫不是很受歡迎，但我喜歡需要更多想象力的東西。我還喜歡雕塑。我收藏有葛姆雷(Antony Gormley)的兩座小型雕塑。我喜歡大型雕塑，但太貴了。雕塑蘊(yùn)含著結(jié)構(gòu)。我做衣服時(shí)對(duì)結(jié)構(gòu)感興趣。上世紀(jì)20年代和30年代的旗袍是沒有皺褶的，但裁縫熨燙、扭轉(zhuǎn)和裁剪布料的方式賦予了其形狀。我告訴我的裁縫：你必須也這樣做。
When you started as a film student in Canada, what was your dream?
問：你最初是在加拿大學(xué)電影專業(yè)，當(dāng)時(shí)你的夢(mèng)想是什么？
I wanted to become a director, of course. When I came back to Hong Kong, I did fashion design for two years--the garment industry in Hong Kong was very big then. Then in the early 1980s I did art direction. One day, Wong Kar-wai, who was a scriptwriter, asked me to do the art of his first film and he asked me to cut the film. It worked well for us. Then we did it again. I thought, Why not? Why should I suffer to become a director? A lot of people are asking me to direct, but I turned them down. I'm happy.
答：我當(dāng)然想成為一名導(dǎo)演。我回到香港后，做了兩年的服裝設(shè)計(jì)，當(dāng)時(shí)香港的服裝業(yè)規(guī)模非常龐大。上世紀(jì)80年代初，我從事過藝術(shù)指導(dǎo)。有一天，當(dāng)時(shí)做編劇的王家衛(wèi)請(qǐng)我為他的第一部影片做藝術(shù)指導(dǎo)和剪輯。我們合作很愉快。然后又進(jìn)行過合作。我當(dāng)時(shí)想，為什么不呢？我為什么要受苦做導(dǎo)演呢？現(xiàn)在有很多人請(qǐng)我做導(dǎo)演，但我拒絕了他們。我現(xiàn)在很開心。
How do you pick your projects?
問：你如何挑項(xiàng)目？
I don't pick. If I have time, I accept every project. Low-budget films, big-budget films. And I'm always doing interiors for private residences at the same time. For that the clients pick us.
答：我不挑。如果有時(shí)間，我會(huì)接受每一個(gè)項(xiàng)目。無論是小成本影片還是大制作影片。我同時(shí)還一直為私人寓所進(jìn)行室內(nèi)設(shè)計(jì)。在這方面，是客戶挑我們。
Are you expensive as an interior designer?
問：你做室內(nèi)設(shè)計(jì)要價(jià)高嗎？
Not really. We charge the same as everyone. Doing interiors is like exercise. When not making a film, I work with real people, making real things that people can use in daily life.
答：不是很高。我們和別人的收費(fèi)標(biāo)準(zhǔn)一樣。做室內(nèi)設(shè)計(jì)就如同體育鍛煉一樣。當(dāng)不參與電影制作時(shí)，我會(huì)和真實(shí)的人一起制作人們可以在日常生活中使用的真實(shí)東西。
How do you know what visuals will create the best impact?
問：你如何知道什么樣的視覺效果會(huì)帶來最強(qiáng)烈的視覺沖擊？
When I encounter it, I immediately know. In 'The Grandmaster' it is the use of black. It was very risky. We used hundreds of black fabrics. Different textures, glossy, less glossy, matte, very matte. Black with blue in it, black with brown, black with red. Velvet creates a very deep black. One day my assistant said: 'Everyone is wearing black! Is it OK?' I said: 'Don't worry. I'm very sure.'
答：我一碰到時(shí)立刻就會(huì)知道。在《一代宗師》中，這一點(diǎn)體現(xiàn)在黑色的運(yùn)用上。這樣做風(fēng)險(xiǎn)非常高。我們使用了數(shù)百種黑色布料。各種質(zhì)地的、亮光的、光澤度不高的、啞光的、高啞光的。黑中帶藍(lán)的、黑中帶棕的、黑中帶紅的。天鵝絨可以產(chǎn)生一種非常深厚的黑色。有一天我的助手說：每個(gè)人都穿黑色！這樣好嗎？我說：別擔(dān)心，我非常肯定。
