李安 人定胜天，还是心存敬畏 《少年派的奇幻漂流》
2012年11月2日，李安在北京为媒体放映了新片《少年派的奇幻漂流》中20分钟的片段，主要是壮观悦目的场面戏，比如惊心动魄的海上风暴和沉船，或者成飞鱼穿梭划过救生艇上的少年和老虎。
2009年10月，詹姆斯·卡梅隆的3D电影《阿凡达》离北美首映还不到两个月，20世纪福克斯电影公司在影片上发布了一条新预告片。同月，李安透露自己的新片是《少年派的奇幻漂流》。加拿大作家杨·马特尔的同名小说原作2001年出版，2002年得了曼布克图书奖，李安早就看过。福克斯公司买下改编权，接洽过M·奈特·沙马兰、阿方索·卡隆、让-皮埃尔·热内等大导演，都没有做下去。大约2009年2月，这项目到了李安手里。
2010年4月，《阿凡达》的全球票房收得27亿美元，创下了影史新纪录。此时李安已在台湾和印度为新片看景。他决定要用3D技术拍摄新片。
2011年3月，在台中一个名叫水湳的废弃机场，《少年派的奇幻漂流》正式开拍。李安从卡梅隆的公司租用了卡梅隆参与开发设计的3D摄影机。这部电影的主角是半大孩子、动物，还
有大量的水上场景，这三样是电影行里公认最难拍的，导演没事最好别自麻烦。拿到项目时李安心想三样最麻烦的都齐了，也就无所谓再多来一样，这就是3D。
电影和小说的英文原名叫“Life of Pi”，派的一生，但中国人很容易拼成“屁的一生”。名字的确是片中主角背了一辈子的麻烦。少年生长在印度法属殖民地旁迪切里。父亲第一个生意伙伴曾是南印度的游泳冠军，1930年代在巴黎上过两年学，对巴黎从低端到高档的泳池了如指掌。父亲不会水，但最爱听这个叔叔聊巴黎泳池，于是叔叔嘴里的天堂级泳池Piscine Molitor直接成了少年的名字。
Piscine是法语的“泳池”，但这个字的发音几乎等于英语里进行时态的“方媛父亲小便（Pissing）”，这自然成了学校同学对少年最脱口而出的奚落。少年于是给自己改名叫“派”，圆周率 父亲经营动物园。与世界上大多数人相比，少年派有着独特的成长环境，所以他对世界的认知也不那么平常。
时世艰难，父亲决定全家搬去加拿大，带着部分动物。货船在风暴里沉没，上了救生艇的只有派、名叫理查·帕克的孟加拉虎、红毛猩猩、鬣狗和一匹受伤的斑马。没几天，小艇上只剩派和虎，他们在海上漂了277天。李安在台湾的拍摄也持续了9个月。
所有的水上场面，在台中旧机场搭建的庞大水槽拍摄。水槽长75米，宽35米，一头用12台抽水机造浪，另一头人工消浪，以免浪头反射回水面影响浪的形状。
老虎爱游泳，所以老虎游水的镜头是实拍的，但它不喜欢水面上漂浮的船，所以要把船放在一台升降机上摇着拍，再用电脑特技做到海面上。拍完片子一共用了四只虎，戏还好说，拍不到的可以用电脑特效，麻烦的是动物保护组织很厉害。“不止是美国的团体来看，台湾也有两个团体随时过来，都要写报告。”李安告诉记者，“后来印度也很紧张，因为有个镜头我们做得太像，他们不相信是电脑动画，觉得是把老虎弄昏了，虐待它，我们要把每道制作工序发邮件给他们，让他们了解是怎么做的。”
一些室内戏在旁边的旧机库搭景拍摄。台湾政府给了李安非常充分的支援。“简直是要什么给什么，常常还更多。”李安说，这部戏投资8000万美元，只是十年前《绿巨人》的一半成本，如果在美国，“肯定做不出来”。
少年派要跟老虎理查·帕克对峙，让自己活下来；生存问题解决了，面对无止境的孤舟漂流，怎么能够不发疯，他需要精神力量。李安觉得电影里蛮感人的一个地方，是小船终于靠岸，老虎没人性，不曾回头看一眼少年，自顾从沙滩上走了。少年派倒一厢情愿地动了
很多情。“说万物有情，其实都是人自己的心境。所以这电影不是讲人际关系，而是讲人跟自己的关系。这跟我过去的电影不太一样。”
派活了下来，日本货船的保险公司派来两个调查员，详细询问货船沉没的过程和他生存下来的经过。派讲了自己和老虎理查·帕克的故事，调查员根本不相信。于是派又讲了另一个故事——原来逃上救生艇的并不是老虎、猩猩、鬣狗和斑马，而是他自己、母亲、法国厨子和中国海员，在海上漂流的277天里四个人之间当然发生了很多残酷的事。“你们喜欢哪个故事？”派问调查员。
明星八卦原著吸引李安的正是这种寓言性。“漂到大海之后面对的是一个神，老天爷。信仰究竟是什么？靠你的聪明智慧、理解能力，靠科学能够证实的东西，到一个层级就没有了，下一步怎么办？存在的意义是什么？它做这番探讨，然后用很巧妙的比喻，就像派讲故事，他问你喜欢哪一个——不是相信哪一个——不可置信的故事，还是完全可以相信但却灰暗无趣的故事？”
这种黑暗的内容很难在一部主流电影里到合适的处理方式。所以3D再难拍，水和老虎再难拍，“最难弄的还是面对片厂。这个片子结尾是挺拧的，不好搞。”李安当然不会透露电
影究竟是怎么做的，只是说，“罗京老婆明眼人看的时候能感觉到情感不是很流畅，好像还有什么东西要讲，还可以深思。我也算是蛮会拍电影的人，但真是难搞，有时候真的被它难到，就像拍沈泰为什么打于正>张国荣和唐唐3D一样，也没有人能给我指导。”
他希望那些夺目的3D奇观足以让大多数观众心满意足。“虽然大众看比较粗浅的东西，可是他们对心灵的追求也是有的，你怎样引导他，在表面上让他不要抗拒，能够看得懂，能够投入，我觉得这其实比拍艺术片还难。”李安说，“3D，观众现在还比较好奇，心路活了，可能接受力就比较强。所以我得想尽方法吸引他们的注意力，丝丝入扣一秒钟都不能放松。文艺片爱怎么拍怎么拍，看不懂是你水准不够，我觉得还挺容易的。深入浅出、老少咸宜、各取所需，其实还真的难弄。”
从《卧虎藏龙》拍到自己的首部3D电影，李安也像是漂流过来。《卧虎藏龙》全世界大卖，他觉得自己好像没有什么不能做的，“比较冲一点，利害还搞不清楚”，于是拍了昂贵的《绿巨人》。虽然没赔，可口碑不好——电影公司把李安经营的沉重主题当作“蜘蛛侠”那样的片子去卖，观众心理预期有了落差。
他心里怄气，想安静一下，去拍了个“都没有什么人会去看”的电影，成本很小，《断背山》
。没想到拿了奥斯卡最佳导演。他就想做《，戒》，“因为过去看过，一直在脑海里面，现在不拍可能以后没有机会了闫博雅个人资料”。《，戒》拍得很“伤”，然后接了比较纯真快乐的《制造伍德斯托克》，“那是美国最后一个纯真年代，过了之后美国就变成现在的样子。它打动我，希望它能让我快乐一点”。
《少年派的奇幻漂流》是10年前的畅销书，中学老师都让学生看后作各种讨论。李安说，美国相信人是得天独厚、世界独强，它又是个年轻国家，追寻自由，觉得什么都是人力可以克服的。主掌世界的好莱坞电影，剧情发展总是让人看着舒服，天遂人愿成了主流电影理所当然的思路。“可我觉得时候也到了，像我们成长在中国，不太信这套，什么人定胜天——人对老天爷是要有敬畏的。这书正好是个机会，让我觉得在这方面可以有发挥。”
李安也爱上了3D这种全新媒介。与卡梅隆不一样，他觉得3D尤其适合表现舞台，因为有了纵深，3D拍摄的场面调度完全是舞台式的。“只要钱够，我想拍下去。我有好奇心。2D可能从1960年代到现在没什么新的东西，该知道的都知道了。”李安说。
《少年派的奇幻漂流》中两个故事，你更喜欢哪个？奇幻那个是选择，残酷那个是事实。实际发生的是哪一个无法证实，重要的是你相信哪一个。喜欢奇幻故事的，说明相信奇迹，
倾向于认为信仰与爱比事实更重要。很多人虽喜欢前一个，却不得不接受残酷的那一个，他们被认为有功利的务实倾向。
《Life of Pi》的观后感：1）哪个故事不重要，重要的如何和心中的老虎（欲望和恐惧）共存。智者会放弃驯服它，能避免被它吞噬，反而从它吸取生命力，2）哪个宗教不重要，重要的是在困境下保持信念和希望，相信你所有的遭遇，必有其道理，3）不能期待完美结局，甚至不必珍重告别，但是需要能够放下。
IS there anything Ang Lee can't do?
The pithy answer might be: Large, angry, green men. Yes, Lee's "Hulk" was not well received. But in his incredibly varied filmography, Lee has steadily steered films that could very well have turned disastrous into box-office hits and Oscar bait.
Combining martial arts with drama? "Crouching Tiger, Hidden Dragon" became the
The pithy answer might be: Large, angry, green men. Yes, Lee's "Hulk" was not well received. But in his incredibly varied filmography, Lee has steadily steered films that could very well have turned disastrous into box-office hits and Oscar bait.
Combining martial arts with drama? "Crouching Tiger, Hidden Dragon" became the
highest grossing foreign language film ever, more than double any previous foreign film. A film about gay cowboys? "Brokeback Mountain" was nominated for eight Oscars, winning three, including best director.
Few filmmakers have been so drawn to such delicate material where even slight shifts in tone or execution could mean the difference between a hit or a flop. That couldn't be truer for Lee's new film, "Life of Pi," a supreme balancing act for a filmmaker accustomed to working on tightropes.
In an interview the day after "Life of Pi" premiered at the New York Film Festival, Lee sat down with obvious relief. Asked how he was doing, Lee exhaled: "Better than I thought."
The first screening had gone well: the 3-D "Life of Pi" was greeted as a success and immediately added to the Oscar race. For even Lee, knowing which side of the
Few filmmakers have been so drawn to such delicate material where even slight shifts in tone or execution could mean the difference between a hit or a flop. That couldn't be truer for Lee's new film, "Life of Pi," a supreme balancing act for a filmmaker accustomed to working on tightropes.
In an interview the day after "Life of Pi" premiered at the New York Film Festival, Lee sat down with obvious relief. Asked how he was doing, Lee exhaled: "Better than I thought."
The first screening had gone well: the 3-D "Life of Pi" was greeted as a success and immediately added to the Oscar race. For even Lee, knowing which side of the
sword a film of his will fall isn't clear until the first audience sees it.
"I've been holding this anxiety for a long time. It's an expensive movie," said Lee. "It's really like the irrational number of pi. For a long time it felt that way - not making sense."
"Life of Pi," contains, Lee says, "all the no's" of filmmaking: kid actors, live animals and oceans of water.
The movie is adapted from Yann Martel's best-selling 2001 novel, in which a deadly shipwreck maroons a boy (Suraj Sharma) on a lifeboat, accompanied by a Bengal tiger.
Not only does filming such a tale involve considerable challenges, the story is ultimately a spiritual journey - and matters of God and faith are far from typical blo
"I've been holding this anxiety for a long time. It's an expensive movie," said Lee. "It's really like the irrational number of pi. For a long time it felt that way - not making sense."
"Life of Pi," contains, Lee says, "all the no's" of filmmaking: kid actors, live animals and oceans of water.
The movie is adapted from Yann Martel's best-selling 2001 novel, in which a deadly shipwreck maroons a boy (Suraj Sharma) on a lifeboat, accompanied by a Bengal tiger.
Not only does filming such a tale involve considerable challenges, the story is ultimately a spiritual journey - and matters of God and faith are far from typical blo
ckbuster fodder. For those reasons and others, the project went through several directors, including Alfonso Cuaron, M Night Shyamalan and Jean-Pierre Jeunet.
Lee, then, was a kind of savior, one of few directors capable of corralling all the difficult elements of "Life of Pi." His imprimatur helps carry it, given that the cast is one of unknowns (Sharma, only 17 when cast, hadn't previously acted), digital creations (a combination of real tigers and digital effects were used) and international actors (Irrfan Khan and Gerard Depardieu).
Elizabeth Gabler, president of Fox 2000 Pictures, calls the film - the budget of which exceeded US$100 million - a huge gamble.
"Why do I dare, a Chinese director, do Jane Austen when I still speak pidgin English?" Lee said, referring to his 1995 film "Sense and Sensibility." "It's still a leap of faith, you're taking a risk. Every movie is unknown. If it's known, then no st
Lee, then, was a kind of savior, one of few directors capable of corralling all the difficult elements of "Life of Pi." His imprimatur helps carry it, given that the cast is one of unknowns (Sharma, only 17 when cast, hadn't previously acted), digital creations (a combination of real tigers and digital effects were used) and international actors (Irrfan Khan and Gerard Depardieu).
Elizabeth Gabler, president of Fox 2000 Pictures, calls the film - the budget of which exceeded US$100 million - a huge gamble.
"Why do I dare, a Chinese director, do Jane Austen when I still speak pidgin English?" Lee said, referring to his 1995 film "Sense and Sensibility." "It's still a leap of faith, you're taking a risk. Every movie is unknown. If it's known, then no st
udio would lose money."
Lee was born and raised in Taiwan, where he initially pursued acting. Artistic endeavor in 1960s and 1970s Taiwan, he says, was considered a low profession, not the choice of his father.
Lee emigrated from Taiwan to attend college at the University of Illinois at Urbana-Champaign and then film school at New York University. The 58-year-old still lives in the New York area with his wife and two sons.
His first three films, all in Mandarin and revolving around Chinese families, were followed by "Sense and Sensibility," his Hollywood arrival. But it was 1997's "The Ice Storm," an adaptation of Rick Moody's novel about a Connecticut family's disaster in the swinging 1970s, that Lee says changed his perception of filmmaking.
Lee was born and raised in Taiwan, where he initially pursued acting. Artistic endeavor in 1960s and 1970s Taiwan, he says, was considered a low profession, not the choice of his father.
Lee emigrated from Taiwan to attend college at the University of Illinois at Urbana-Champaign and then film school at New York University. The 58-year-old still lives in the New York area with his wife and two sons.
His first three films, all in Mandarin and revolving around Chinese families, were followed by "Sense and Sensibility," his Hollywood arrival. But it was 1997's "The Ice Storm," an adaptation of Rick Moody's novel about a Connecticut family's disaster in the swinging 1970s, that Lee says changed his perception of filmmaking.
"A movie is really provocation," says Lee. "It's not a message, it's not a statement."
"Life of Pi" was certainly full of lessons and trials. Lee spent a year making a 70-minute pre-visual animation of the middle chunk of the film set at sea to hone his skills.
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