完美帝国（2018）

电影会骗人 体育不会
让-吕克·戈达尔
看着这个影片的画面 你会问自己
You look at the images of this film and you ask yourself...
在你的电影知识体系中 这算什么
where does this go on your scale of film knowledge?
但就像爱情喜剧或是战争电影一样
And yet, just like a romantic comedy or war film,
教学片也是电影史上重要的一部分
an instructional film is part and parcel of cinema history.
正如另外两个电影类别
Just like the two other genres,
教学片也曾受制于僵化的模式
instructional films used to suffer from rigid ideas
它的制♥作♥方式
on how they were to be produced
以及对演员的限制十分严格
and tight limits on the actors.
"网球基础技巧研究"
A Study of the Basic Techniques of Tennis
由吉尔·德·克马德茨于1966年制♥作♥
was produced in 1966 by Gil de Kermadec,
他是第一个国家网球技术指导
first national technical director of tennis,
他一直不太相信影片会有那么重要的作用
who, over time, wasn't really convinced that the film was that relevant.
简直不可思议 不是吗
Incredible, huh?
当时 吉尔也很惊讶
Gil was also astonished
他要在罗兰加洛斯的比赛之前
that he had to organize these demonstrations
组织拍摄这些示范动作
before matches at Roland Garros.
著名的网球运动员会来到球场上
Famous players would come on court,
在观众面前
in front of the spectators,
站在固定的位置上
and take up fixed positions,
并且不能随意移♥动♥
and were told not to move.
这些做示范的运动员
Players who are doing demonstrations
总是以为自己做出的动作和他们在比赛时一样
always think they are making the movements that they make in a match.
但事实上 影片可以证明 这是不可能的
But, actually, film has the power to show how impossible that is.
了解到这一点之后
Armed with this knowledge,
1969年 吉尔·德·克马德茨
Gil de Kermadec asked in 1969
要求在罗兰加洛斯网球公开赛
for the camera lenses to be turned on the Roland Garros tournament
在真正比赛时进行拍摄
and the reality of playing.
他的影片重点在于比赛
The thrust of his films are about competition
然后 很快他就更深入地明白了
and soon lead to a new level of awareness:
不 这种法国网球教学方式 并不适用于全世界
No, the French way of teaching tennis is not at all universal,
也不适用于任何人
nor applicable to everybody.
1977年开始
From 1977,
德·克马德茨开始使用人物描写的手法
de Kermadec begins to use the technique of the portrait.
他开始更加关注 每一个运动员独一无二的原因
He becomes more concerned with what makes each player unique,
在这之后
and after that,
他开始分♥析♥这个运动员可以打什么类型的网球
he starts to analyze the type of tennis which he or she can produce.
在1985年
In 1985,
这部高度原创的人物教学系列中的最后一部作品
the last work from this highly original series of instructional portraits
聚焦在了美国运动员 约翰·麦肯罗身上
is dedicated to the American John McEnroe,
这位连续四年的世界第一
world number one for four years.
完美帝国
Delpy
♪The Sprawl - Sonic Youth♪
1985年 罗兰加洛斯球场 约翰·麦肯罗
吉尔·德·克马德茨制♥作♥
首先 脚与底线平行
Initially, the feet are parallel to the baseline.
一旦开始动作
As soon as the movement begins,
大臂和前臂用力挥动
an astonishing rotation of the arm and forearm
将球拍从纵轴上旋转超过180度
turns the racket through more than 180 degrees on its longitudinal axis.
在准备动作时 膝盖弯曲
In the armed position, knees are bent
肩膀和手臂的位置接近垂直
and the shoulder and arm line is nearly vertical.
膝盖放松 快速扭动肩膀
Relaxing the knees and shifting the shoulders
有助于提高挥拍的速度
helps increase the speed of the racket
当它开始沿着运动员的背部往下掉的时候挥拍
as it begins to go down the player's back.
像抽鞭一样挥动球拍 直到击打到球
The undulation travels like a whipcrack until the ball is hit,
手臂不完全伸直
with the arm not fully extended
手柄也不与前臂对齐
nor the handle aligned with the forearm,
这点与大多数优秀的发球好手不同
unlike most great servers.
当击到球时 肩膀还没有放平
The shoulders are not yet facing again when the ball is hit.
发球效率不仅来自于击球时的速度
The efficiency comes not only from the speed with which the ball is hit
也不只是球速和落点的变化
nor the speed or variety of placing,
还来自于它的不可预测性
but also from its unpredictable nature.
麦肯罗的动作让对手无法预测球的走向
McEnroe's movement doesn't let opponents guess where the ball will go.
此外 他来到网前的速度
What's more, his speed in coming up close to the net
使他能获得更多击球的角度
gives him angles to play with,
甚至不需要截击
without even having to volley.
2011年 我的朋友尼古拉斯·蒂博
In 2011, my friend Nicolas Thibault
拍完了关于吉尔·德·克马德茨的电影
was coming to the end of making a film about Gil de Kermadec.
这位网球运动员 电影制♥作♥人
This tennis player-filmmaker had spent his entire life
终生都在观察奥特维尔港红土场地上
watching the development of the best players in the world
[奥特维尔港(Porte d'Auteuil): 法国网球公开赛举办的地点]
全世界最优秀的球员的发展
on the clay courts of Porte d'Auteuil
就像一些人在南极大♥陆♥上观察帝企鹅的发展一样
like others would follow the development of emperor penguins in the Antarctic.
尼古拉斯想在电影中为吉尔留一个位置
Nicolas wanted to make room in his film for Gil among the archives
要我带他过去
and asks me to take him there.
就像站在克里斯蒂安·波尔坦斯基的
Dazed as if we were standing in front of
装置艺术前一样 我们感到头晕目眩
an installation by Christian Boltanski,
[克里斯蒂安·波尔坦斯基: 法国著名的雕塑家 摄影艺术家 画家和电影制♥作♥人]
在我们面前的是成堆的金属盒
we are confronted by a heap of metallic boxes,
每一个盒子里都包含着他生命的一小部分
each of which contained fragments from his life.
看着吉尔热切地审视着这些旧时影像
Watching Gil lovingly scan these images from the distant past,
我想象到他 回到了一个陌生 充满焦虑的彼世
I imagined him navigating back into a strange otherworld of worries.
我们继续整理清单
Our inventory continued,
我非常惊讶地发现有那么多关于约翰·麦肯罗的素材
and I am stunned to find that there was so much material on John McEnroe.
样片比吉尔给他制♥作♥影片的
The rushes are more than 20 times the final length
片长要长20倍多
of the film that Gil had made about him.
麦肯罗 技术片段
我花了几个月的时间把上百份
I spent several months editing together
散落的胶卷剪辑在一起
hundreds of little reels that had been scattered all around.
如果说在过去的垃圾桶里
If the wastebins from yesteryear
总有现今考古博物馆里的珍品
quite often provide the treasures in today's archaeology museums,
那我有这样一种感觉
then I had the feeling
这些零碎的片段也能拼凑出珍贵的东西
that these bits and pieces could yield something precious,
将一些被遗忘的真♥相♥
something that could reveal some forgotten truth
让那些愿意聆听的人知道
to whoever would be willing to listen.
看着这些样片
Viewing these rushes,
我很快就对摄影机的移♥动♥ 场记板感到惊奇...
I was rapidly struck by the camera movements, the clapper board...
我惊讶于这种沉浸感
I was struck by a feeling of immersion,
一种不可思议的直观的感觉
an incredible sensation of immediacy.
我们不是在看约翰·麦肯罗
We were not in the process of watching John McEnroe,
也不是在看一部关于约翰·麦肯罗的电影
nor a film about John McEnroe.
我们是身处片场的摄影师
We were actually the cameramen on the set of a film
正在拍摄这部电影
which was in the process of being made.
如果你们两个没听到 那一定是有问题了
If you two can't hear that, there must be something wrong.
如果在你们面前两英寸的球你们都听不到 那一定是有大问题了
There's something very wrong if you can't hear a ball two inches in front of you.
不 不 可能
No, no, perhaps--
可能我的视力和听力比你们好20倍
Perhaps I'm 20 times better see and 20 times better hear than you'll ever be.
你♥他♥妈♥算什么 你算什么人
What the hell are you? Who are you?
是随机抽出来的吧
Picked your name out of a hat.
所以我们在等待 我在等...
So we were waiting, well, I was waiting...
一个信♥号♥♥
for the signal to come through--
告知比赛结束 球员们坐下来
for the game to be over and the players sitting down--
观众开始起身离场
so the spectators would be moving.
我们... 我总是有点紧张 因为那是
So we were... I was always a bit tense because it was...
那是最近的拍摄点
it's the closest spot,
离球场最近 离球员最近
closest to the court, closest to the players.
所以我们往前挪了挪...
So we moved forward...
那可能是这场比赛最早的一个破发点 你知道吗
Perhaps it's the easiest point of the match, you know?
你想过吗
Ever think of that?
我架好我的三角架 - 时间到
I set up my tripod. - Time.
我总是会架一个三角架拍摄 试图...
I always filmed with a tripod, trying...
不要挡道
not to get in the way.
在一个合适的高度拍摄 我就在那里花丛旁边
To be at the right height. There I'm on the flowers,
我就在花丛的后面
which are just in front of me.
我们身边包围着摄像师
And we were surrounded by photographers...
他们也有大大的摄影机和长焦镜头
who also had big cameras with long focal lenses.
这就是尼古拉斯 他是工作伙伴 也是吉尔的朋友
Here's Nicolas, collaborator and Gil's friend.
我觉得那也是
I think that's also what...
当你在拍摄的时候
what you look for...
你要寻找的
when you're filming.
那个理想的拍摄点
The sort of ideal spot.
没有花招 没有大的移♥动♥
With no tricks, no big movements...
只是描绘一个场面
you describe a presence,