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| Rising Actor! 董子健成90後演員登《紐約時報》第一人 |
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主演《山河故人》《六弄咖啡館》暑假接力登台
近日，美國《紐約時報》以「中國崛起的90後演員董子健：當下好電影在何處」為題介紹了90後的新生代演員董子健，讓他成為繼章子怡、馮小剛等人之後，首位登上《紐約時報》的90後中國演員，他對年輕演員的生活狀態和中國獨立電影現狀的獨到看法，也獲得外媒的大力好評。董子健不光在大陸受到矚目，他與台灣也有深厚淵源，他因兩度入圍金馬獎而來到台灣，而今年他除了將有參演的坎城競賽片《山河故人》在台放映外，近年主演的兩部電影《六弄咖啡館》與《完全男生手冊》也都與台灣導演合作，《山》和《六》兩部片都將於7月在台灣接力與大家見面，屆時台灣觀眾亦可感受這名新生代演員的演出魅力！
入行短短三年，董子健已在國際影展嶄露頭角，作為中國新一代電影人的代表受到關注。2015年，他憑藉《山河故人》入圍坎城影帝、受邀坎城影展，並在當地接受了歐洲Canal＋電視臺的全英文專訪，董子健與主持人暢聊其個人經歷以及中國迅猛發展的電影業，機智而風趣的談吐使其受到網友肯定。同年，董子健又登上德國雜誌《21China》，言談中展現出作為中國新生代90後的「態度」。韓國權威媒體MBN前不久也專訪了董子健，稱其為「上升的20代演員」。
而《紐約時報》在全世界有相當的影響力，長期以來擁有良好的公信力和權威性。此次董子健憑藉電影《德蘭》入圍上海電影節金爵獎主競賽單元，也藉此接受《紐約時報》的關注和採訪。他在採訪中被問及對年輕演員的看法時表示：「我挺幸運的，有機會和一些新銳導演合作，比如肖洋導演和台灣導演吳子雲（藤井樹）。其實現在很多後期製作公司都是由90後的年輕人經營運作，看到中國電影正在發生的這些變化，感覺特別棒。」
而對於中國當代獨立電影的現狀，儘管先前曾發生藝術電影《百鳥朝鳳》製片錄製下跪影片求排片量的事件，但董子健則持樂觀積極的態度，他表示：「其實好電影還是存在的，只是大家沒注意到而已。除了張藝謀，像賈樟柯，劉杰這樣的優秀獨立導演越來越多了。」他認為，現在是中國的商業片黃金時期，卻也是嚴肅作品的低潮期，發展藝術院線，可說是未來中國電影市場需要發展的課題。
對董子健而言，台灣可說是他的福地，去年他所主演的三部電影《山河故人》、《少年巴比倫》和《德蘭》都入圍金馬獎外，他近期拍攝的《六弄咖啡館》以及與香港金像獎影后春夏主演的《完全男生手冊》，兩部片的導演也都來自台灣，其中《山河故人》及《六弄咖啡館》都將在今年夏天在戲院和觀眾見面，屆時觀眾可藉此一窺這位90後演員的演出魅力。
標題：A Rising Chinese Actor, Dong Zijian, on Where the Good Movies Are Now
中國新生代演員董子健：當下好電影在何處
The actor Dong Zijian was in his late teens when he was tapped by the director Liu Jie to play the starring role in his 2013 film “Young Style,” about Beijing high school students preparing for university. Since then, Mr. Dong, now 22, has gone on to star in a number of films. Last year, he was nominated for best actor at the Cannes Film Festival for his role in Jia Zhangke’s “Mountains May Depart.” For his latest film, he teamed up with Mr. Liu once again to make “De Lan,” in which Mr. Dong plays a loan officer who travels to an ethnic Tibetan area of Yunnan Province and falls in love with a local woman. The film has been nominated for the main competition Golden Goblet award at this year’s Shanghai International Film Festival, which opens on Saturday. In an interview, Mr. Dong talked about life as a young actor, the state of independent films in China and why he idolizes Mr. Jia.
2013年董子健被導演劉杰選中出演《青春派》時，他尚處在青少年晚期（剛剛20出頭）。《青春派》是一部講述北京地區高中生備戰高考經歷的青春片。自那以後，董先生（今年22歲）繼續主演了幾部電影，並在去年因出演賈樟柯《山河故人》中的角色獲得坎城最佳男主角提名。他的上一部電影《德蘭》是再次和導演劉杰合作，在影片中董先生飾演一位信貸員，他進入雲南省藏人族群，並愛上了一位當地女人。這部電影入圍了今年上海國際電影節（本週六開幕）金爵獎主競賽單元。在本次採訪中，董先生聊到作為一名年輕演員的生活狀態，中國獨立電影的現狀，以及他崇拜賈樟柯導演的原因。
Q:How did you get into acting?
你是怎麼進入演員行業的？
It was pretty random. My mom works in the entertainment industry, but I never even considered going into it because I was too heavy, and I had never been asked to be in a movie. Then, when I was 17 or 18, I met the director Liu Jie. I was working out at the gym, and he called out to me and said, “Come here, kid.” So I picked up my sneakers and went over to him. He asked me to act in one of his movies, and I agreed.
無巧不成書。我母親身在娛樂行業，但我從沒想過幹這行，一是因為之前太胖，二是從來也沒有人找過我去拍電影。後來十七八歲的時候遇到了導演劉杰，當時我正在健身房健身，他喊我，說“小孩兒，過來”，於是我就拿上我的球鞋走過去了。然後他問我願不願意演出他的電影，我同意了。
Q:What’s it like working as a young actor in China?
在中國，作為一名青年演員是什麼體驗？
People like me are usually at a bit of a disadvantage, because I am not that tall, handsome or talented. I can’t sing or play any instruments. But I’m lucky to be entering the film industry at a propitious time. I’ve had the opportunity to act in some art-house movies and work with a lot of new directors, like Xiao Yang and a Taiwanese director called Zeng Jingshu. Many of the postproduction companies are run and staffed by people from the post-1990 generation. It’s great to see these changes in the Chinese movie industry.
像我這樣的演員沒有先天優勢，不高不帥也沒有才，我不會唱歌，樂器也不行。但我挺幸運的，在一個特別有利的時機入了電影這行。我有機會和一些新銳導演合作，像肖洋導演和台灣導演藤井樹，然後演了幾部文藝片。其實現在很多後期製作公司都是由90後經營運作的，看到中國電影業正在發生的這些變化，感覺特別棒。
Q:What are your thoughts on the state of independent films in China today?
你對中國當代的獨立電影有什麼看法？
When people talk about Chinese films, they often talk about the brilliant art-house films of 30 or 40 years ago. They wonder why such films aren’t produced in China today. But, actually, these films do exist. It’s just that people aren’t paying attention. It used to be that the market was small, and those art-house films were the only movies people could watch. I’m talking about films like “Farewell My Concubine,” Zhang Yimou’s “To Live” and other films by Chen Kaige or Xie Jin.
If you make the effort, you can still find these films today. There are more independent-leaning movie directors — people like Liu Jie, Jia Zhangke and Zhang Yimou, to a certain extent.
每次一說到中國電影，大家都會提到三四十年前的殿堂級作品，然後就會不解，為什麼中國現在沒有這樣的好電影了？但其實，好電影還是存在的，只是大家沒注意到而已。之前電影市場很小，那些大師級的作品是市面上人們唯一能看到的電影，我指的是《霸王別姬》《活著》這些陳凱歌，張藝謀和謝晉拍的片子。你留心觀察的話，像這樣的作品現在還是有的，因為像劉傑，賈樟柯，甚至張藝謀這樣的獨立導演越來越多了。
Q:Perhaps it has more to do with distribution. Even though these films are getting made, it’s hard for independent films to get wide distribution in theaters.
也許這一現狀和電影發行管道有很大關係。就算這些獨立電影已經成片，也很難大規模在影院上線。
A: Yes, it’s a good time for commercial films and a bad time for serious movies. Some countries have art-house movie theaters dedicated to showing more independent films. China doesn’t have anything like this.
是，現在是商業片黃金時期，也是嚴肅作品的低潮期。在一些國家有專門上映獨立電影的藝術影院，但中國還沒有。
Q:What was it like working with Jia Zhangke?
和賈樟柯導演合作是什麼體驗？
Amazing. He’s my hero. The first time I saw one of Jia’s movies was when I was 11 or 12 years old. I found a disc on my parents’ DVD shelf. I thought it was a comedy, so I watched it. It was “Platform” [a 2000 film that traces the transformation of Chinese society from 1979 into the early 1990s through the fortunes of a group of young stage actors]. I didn’t know about Jia and, even though I didn’t understand the film, I watched it until the end because the scenes were interesting and fresh. When I met Jia a few years ago, I rewatched all his films, including “Platform.” It was totally different than I remembered. It was amazing. To put it plainly, Jia is my idol, a godlike figure to me. It’s great to have a director like him in China who tells the story of the people and discusses social issues.
太棒了。他是我男神。我第一次看賈導電影的時候才十一二歲，那天我在爸媽書架上找到張盤，我以為是喜劇片就看了。那部片是《站台》（2000年出品，通過一群青年走穴演員的命運揭示1979-1990年間的中國社會變化），當時我還不認識賈樟柯導演，也無法理解電影內容，但我深深被那些新鮮有趣的畫面所吸引，一直看到了最後。幾年前我第一次見賈導時，又重溫了他所有的片子，包括《站台》，再看時的感覺已經和記憶中完全不一樣了。太奇妙了。說直白點，賈導就是我的偶像，大神級的存在。中國有這樣專注於講述小人物的故事和剖析社會問題的導演，太好了。
Q:Which directors do you admire?
你最喜歡哪些導演？
That’s a tough question. Xavier Dolan is a director I admire a lot right now. He directed “I Killed My Mother.” When I learned that he made the film when he was 20, it was like a slap in the face. It inspired me to work harder.
這個問題很難回答。札維耶多藍是我現在特別欣賞的一位導演。《聽媽媽的話》就是他的作品之一。當我得知這部片是他20歲的時候拍的時候，感覺像是受到了重擊。這件事情激勵我要更加努力。
Q:Who are the Chinese directors you like the most?
有哪些中國導演是你最喜歡的？
There are too many excellent Chinese movie directors. I can’t name them all. Jia Zhangke, Jiang Wen and Zhang Yimou are at the top of my list.
中國出色的電影導演層出不窮，我沒辦法一一列舉。但是賈樟柯導演，姜文導演和張藝謀導演絕對是排名靠前的。
Q:The media talks a lot about competition between China and Hollywood. What are your thoughts?
媒體經常會拿中國電影和好萊塢大片之間的競爭說事兒。你對此持什麼看法？
I think the comparison itself is pretty boring. The reason why the market in China has grown so quickly is because China has a huge population. People have more money now, so it’s just filling a demand.
我覺得這種比較本身就挺無聊的。中國電影市場迅速崛起的原因之一是人口基數大。隨著經濟發展，刺激了消費需求而已。
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