重塑好萊塢的六位人氣女導演

No longer content just to be making movies, a new generation of critically heralded female directors is rivaling the male establishment at the box office — and redefining what it means to be a woman in Hollywood.

受到影評家讚揚的新一代女導演不再僅僅滿足於拍電影，她們還在與男導演進行票房的較量——重新定義身爲好萊塢女性的意義。

SAM TAYLOR-JOHNSON

薩姆·泰勒-約翰遜(Sam Taylor-Johnson)

Dominance. Discipline. A riding crop. When it was announced that E. L. James's sadomasochistic literary sensation, "Fifty Shades of Grey," would be adapted into a film, men like Joe Wright, Gus Van Sant and Bennett Miller were considered the front-runners to direct it. Instead, the project went to Sam Taylor-Johnson, a Turner Prize-nominated artist and mother of four with just one feature film — "Nowhere Boy," a meditative biopic about a young John Lennon — to her name. "I tend to jump into big challenges as fearlessly as I possibly can, and this is definitely a big challenge," admits the 47-year-old. "But I didn't feel like I was stepping into something outside my realm of thought or creativity. A lot of my work has dealt with sexuality and power shifts and identity." Despite the potentially crippling pressure of directing a story that's been eagerly devoured by millions of women — and just as eagerly derided by critics who have called it "bad for you," "S&M for Dummies" and "pornography,plain and simple" — the London native ran the set of "Fifty Shades," out early next year, like an indie film, "so that it didn't feel like we were doing something as massive as it potentially will be," she says. "I wanted to keep it quite close-knit so that everyone felt supported, especially because a lot of the material is sensitive." When it came to that sensitive material and how to tackle it, Taylor-Johnson was reminded of one of the few quiet moments from Kathryn Bigelow's sexy thriller "Blue Steel," in which Jamie Lee Curtis, as a rookie cop, slowly pulls on a black leather boot. "It was just one shot," she says, "but I remember thinking, God, that is so powerful. And then I read the credits and was really surprised that — wow — a woman made this film."

支配。紀律。馬鞭。當E·L·詹姆斯(E. L. James)引起轟動的施虐受虐癖小說《格雷的五十道陰影》(Fifty Shades of Grey)宣佈將改編成電影后，喬·萊特(Joe Wright)、格斯·範·桑特(Gus Van Sant)和貝尼特·米勒(Bennett Miller)等男導演被認爲是最有可能的人選。但是，最終執導該片的是曾獲特納獎提名的薩姆·泰勒-約翰遜。她是四個孩子的母親，只拍過一部長片——《不知名的男孩》(Nowhere Boy)——它是關於年輕時的約翰·列儂(John Lennon)冥思式的傳記片。“我喜歡儘可能無所畏懼地接受巨大挑戰，這（執導《五十道陰影》）無疑就是，“47歲的泰勒-約翰遜說，“但是我並不覺得這跨出了我的思想或創造力領域。我的很多作品與性慾、力量轉換和身份有關。”雖然拍攝這樣一部被成百上千萬的女人如飢似渴地閱讀，同時也被批評家們以同樣的熱情嘲弄——稱它“對你有害”，是給“傻瓜看的施虐受虐癖小說”，“是一本黃書，幼稚、簡單”——的電影會面臨巨大壓力，但這位倫敦本地人還是把這部明年初就要上映的電影拍得像是一部獨立製作，“這樣就不用弄得氣勢恢宏，”她說，“我想讓它儘量緊湊，讓每個人都感覺被支持，特別是考慮到很多素材很敏感。”當提到敏感素材以及如何處理時，泰勒-約翰遜想起了凱瑟琳·畢格羅(Kathryn Bigelow)的色情驚悚片《霹靂藍天使》(Blue Steel)中的幾個平靜時刻之一——傑米·李·柯蒂斯(Jamie Lee Curtis)扮演的新警察慢慢穿上一個黑皮靴。“它只是一個鏡頭，”她說，“但是我記得當時我想，天哪，這太有衝擊力了。然後我看了一下演職員表，非常驚訝地發現——哇唔——導演是個女的。”

Taylor-Johnson's Formative Films

激勵泰勒-約翰遜當導演的電影

One of the films that made her want to direct was John Cassavetes's "A Woman Under the Influence," starring Peter Falk and Gena Rowlands.

激勵她走上導演之路的電影中，有一部是約翰·卡薩維茲(John Cassavetes)的《受影響的女人》(A Woman Under the Influence)，主演是彼得·福克(Peter Falk)和吉納·羅蘭茲(Gena Rowlands)。

JENNIFER YUH NELSON

詹妮弗·餘·尼爾森(Jennifer Yuh Nelson)

Raking in over half a billion dollars worldwide in 2011, the Academy Award-nominated "Kung Fu Panda 2″ turned Jennifer Yuh Nelson into the highest-grossing female director of all time (that title now belongs to Jennifer Lee, the co-director of last year's "Frozen"). It makes sense, then, that the DreamWorks Animation C.E.O. Jeffrey Katzenberg hired her back for "Kung Fu Panda 3," which she is currently working on with a team of about 350 people. From concept to completion, the "Panda" films each take three to four years to make, but Nelson's philosophy is that the appeal of animation is timeless, so it's crucial to create something that will endure — "a film you watch, think about and grow up with." Nelson's success is unexpected given that her biggest job prior to the "Kung Fu Panda" series was as a story artist on the 2005 film "Madagascar," but perhaps it has to do with how she approaches the genre: "I only think in live action," says the 42-year-old, who personally sketches the scenesof her films, along with a team of artists. Born in South Korea and raised in Lakewood, Calif., with two older sisters who are also storyboard artists, she studied illustration at California State University, Long Beach. Given her passion for animation, the film she loved most growing up comes as a bit of a surprise: " ‘Terminator,' " she says, laughing. "I memorized every line."

獲得奧斯卡提名的《功夫熊貓2》(Kung Fu Panda 2)2011年在全球賺了5億多美元，它使詹妮弗·餘·尼爾森成爲當時票房記錄最高的女導演（如今這一殊榮屬於去年《冰雪奇緣》[Frozen]的聯合導演詹妮弗·李[Jennifer Lee]）。所以，夢工廠動畫公司的首席執行官傑弗瑞·卡森伯格(Jeffrey Katzenberg)又請她執導《功夫熊貓3》(Kung Fu Panda 3)也在情理之中，目前她正在和一個約350人的團隊製作該片。每部《功夫熊貓》從概念到完成都要花三四年時間製作，但尼爾森相信，動畫片的吸引力是永恆的，所以重要的是創作出具有持久魅力的東西——“一部你觀看、思考並與之一起成長的電影”。尼爾森的成功出人意料，因爲她在執導《功夫熊貓》系列之前最重要的工作是在2005年的電影《馬達加斯加》(Madagascar)中擔任畫故事板的美工，不過她處理這個體裁的方式也許與此有關：“我是從實景拍攝的角度思考，”42歲的尼爾森說道。她親自和一個美工團隊設計電影的場景草圖。尼爾森出生於韓國，在加利福尼亞州萊克伍德市長大，她的兩個姐姐也是故事板美工，她在加州州立大學長灘分校學過插畫。鑑於她對動畫片的熱情，她成長過程中最喜歡的電影有點出人意料：“《終結者》(Terminator)，”她大笑着說，“我能背出裏面的每一句臺詞。”

Nelson's Formative Films

激勵尼爾森當導演的電影

One of the films that made her want to direct was the 1989 martial-arts sci-fi film "Cyborg."

激勵她走上導演之路的電影中，有一部是1989年的武打科幻電影《機械超人》(Cyborg)。

AVA DuVERNAY

阿娃·迪韋奈(Ava DuVernay)

In Robert Altman's Hollywood-lampooning film "The Player," an oily studio executive says, "I was just thinking what an interesting concept it is to eliminate the writer from the artistic process. If we could just get rid of these actors and directors, maybe we've got something here." Ava DuVernay had another idea. "I financed and made my own films from the start," says the 42-year-old director, writer, producer, distributor and onetime publicist. "My path has been autonomous and independent, so I don't have any horror stories about glass ceilings and expectations and tense studio meetings." DuVernay, who became the first black woman to win a best director prize at the Sundance Film Festival, for her 2012 film "Middle of Nowhere," established her own production company, Forward Movement, in 2008. Although taking control of her business means she never has to ask permission to make a film, DuVernay still faces obstacles when it comes to the actual filming. "For female directors, there's a whole other set of things we have to think about, particularly when we are casting men, because there are some actors who have never been directed by a woman," she says. "Crew members, too. The way that you would deal with a black woman on the street is not the way you're going to deal with this black woman on the set, and there have been a couple of times where that negotiation has been a little iffy." For her fourth feature film, DuVernay will direct "Selma," a movie about the 1965 voting rights campaign led by Martin Luther King Jr. that is being co-produced by Oprah Winfrey and Brad Pitt.

在羅伯特·奧爾特曼(Robert Altman)諷刺好萊塢的電影《玩家》(The Player)中，一個油腔滑調的電影公司主管說，“我在想，把編劇從藝術創作過程中清除出去該多有趣啊。如果我們能甩掉這些演員和導演，也許我們能在這裏幹一番事業。”阿娃·迪韋奈的想法則相反。“我從一開始就自己出錢拍自己的電影，”這位42歲的導演、編劇、製片人、發行人和宣傳（一度兼職）說，“我的路一直是獨立自主的，所以我沒有遭遇女性晉升的玻璃天花板、種種期望、緊張的電影公司會議這樣的恐怖經歷。”迪韋奈2008年創立自己的電影公司向前運動(Forward Movement)，2012年憑藉電影《無人知曉》(Middle of Nowhere)成爲首位獲得聖丹斯電影節最佳導演獎的黑人女性。雖然掌控自己的公司意味着她從來不必獲得別人許可才能拍電影，但是在實際拍攝過程中迪韋奈仍遇到了一些障礙。“女性導演必須考慮另一套完全不同的東西，特別是在選男演員時，因爲有些男演員從未拍過女人導演的電影，”她說，“選擇劇組人員也是如此。你在街上跟一個黑人女性打交道的方式與你在片場跟這個黑人女性打交道的方式將是不同的，有好幾次協商進行得不太好。”迪韋奈的第四部長片是《塞爾瑪》(Selma)，它講述的是1965年小馬丁·路德·金(Martin Luther King Jr.)領導的爭取投票權的運動。奧普拉·溫弗瑞(Oprah Winfrey)和布拉德·皮特(Brad Pitt)是該片的聯合制片人。

DuVernay's Formative Films

激勵迪韋奈當導演的影片

One of the films that made her want to direct was Spike Lee's "Mo' Better Blues."

激勵她走上導演之路的電影中，有一部是斯派克·李(Spike Lee)的《爵士風情》(Mo' Better Blues)。

SARAH POLLEY

薩拉·波利(Sarah Polley)

For someone who first drew mainstream attention in an Ecstasy-fueled rave odyssey called "Go," Sarah Polley likes to stay put. "I have this theory that filmmakers, if they were in another time before the film medium, would have been divided into two categories: writers and explorers," says the 35-year-old actor, writer and director who has chosen to remain in her native Canada rather than make the typical pilgrimage to Hollywood. "The explorers would have gone off and found unseen lands. I definitely would have fallen into the writer category." Although Polley identifies mostly as a screenwriter, she has directed three features, including "Away From Her," a romantic drama that earned her a best adapted screenplay Oscar nomination in 2008, and last year's critically acclaimed autobiographical documentary "Stories We Tell," in which she unearthed her own family's secrets in the wake of her mother's death. "It's easy for me to imagine writing a script for someone else to direct, but hard for me toimagine directing a script someone else has written," she says. An industry veteran — she landed her first role at the age of 4, and has acted for other female auteurs like Kathryn Bigelow and Isabel Coixet — Polley understands all too well the challenges women face trying to balance their domestic and occupational lives. "I think there's got to be a culture in which women are permitted to have time with their families and also have a great work ethic and make movies," she says. "Right now, that doesn't exist." And yet, Polley makes it work. She is currently adapting Margaret Atwood's historical novel "Alias Grace" into a six-part mini-series in Toronto, where she lives with her husband and two daughters.

薩拉·波利首次引起主流注意是通過一部充滿搖頭丸的狂歡歷險電影——《前進》(Go)，但是她喜歡留在原地。“我有這樣一個理論：電影製作人們在電影媒體出現前的時代會分爲兩類：作家和探險家，”這位35歲的演員、編劇和導演說。她選擇留在祖國加拿大，而不是進行典型的好萊塢朝聖。“探險家會離開去尋找未見過的土地。我肯定屬於作家那一類。”雖然波利主要是電影編劇，但她也導演過三部長片，包括愛情片《柳暗花明》(Away From Her)和去年上映的自傳體紀錄片《我們講述的故事》(Stories We Tell)——前者爲她贏得了2008年奧斯卡最佳改編劇本獎提名；後者獲得了影評家的好評，講述的是母親去世後她發現了自己家族的祕密。“我更容易想像自己寫了一個劇本讓別人去導演，但是很難想像讓我去導演別人寫的一個劇本，”她說。波利是電影圈的老將，四歲就得到第一個角色，曾參演凱瑟琳·畢格羅(Kathryn Bigelow)和伊莎貝爾·科塞特(Isabel Coixet)等其他女導演的影片，所以她十分了解女人想在家庭和事業之間保持平衡時面臨的挑戰。“我想，應該有一種文化，讓女人既有時間陪家人，還能保持很好的職業道德去拍電影，”她說，“現在這種文化不存在。”但是，波利還是做到了。目前她正在多倫多——她和丈夫以及兩個女兒住在這裏——把瑪格麗特·阿特伍德(Margaret Atwood)的歷史小說《別名格雷斯》(Alias Grace)改編成六集迷你劇。

Polley's Formative Films

激勵波利當導演的影片

One of the films that made her want to direct was Terrence Malick's World War II epic "The Thin Red Line."

激勵她走上導演之路的電影中，有一部是泰倫斯·馬利克(Terrence Malick)的“二戰”史詩影片《細細的紅線》(The Thin Red Line)。

LISA CHOLODENKO

莉莎·紹洛堅科(Lisa Cholodenko)

Early on in Lisa Cholodenko's Oscar-nominated film, "The Kids Are All Right," a lesbian couple, played by Annette Bening and Julianne Moore, engages in foreplay while watching a video of two men having sex in the back of a Ford Ranchero. Under different direction, the scene could have easily felt smutty, but Cholodenko's humor and heart turn it into something that ends up bordering on wholesome. Naturalizing same-sex relationships has been at the core of the 50-year-old filmmaker's creative process since she wrote and directed her debut feature, "High Art," in 1997 while in grad school at Columbia University. "When I started making films, there was no gay marriage, and these issues weren't front and center at all, so I feel like the global landscape has probably changed quite a lot in that time," says Cholodenko, who has explored sexuality and its impact on the human condition in each of her four feature films. For "The Kids Are All Right," she took a more lighthearted approach, in an attempt, shesays, to "scratch outside of the art-house sensibility, and see if I could connect with a wider audience." Cholodenko most recently turned her lens on yet another complicated family, this time in coastal Maine, with her four-part HBO mini-series "Olive Kitteridge," an adaptation of Elizabeth Strout's Pulitzer Prize-winning novel, which will air this fall. For that project, she was attracted to the script almost immediately: "Here were these fully realized, complicated, ironic characters that I loved in all their dark and light complexity."

在莉莎·紹洛堅科獲得奧斯卡提名的影片《孩子們都很好》(The Kids Are All Right)的開頭，安妮特· 貝寧(Annette Bening)和朱利安·摩爾(Julianne Moore)扮演的同性戀情侶一邊觀看兩個男人在一輛福特Ranchero皮卡的後座上做愛的視頻，一邊進行前戲。如果用另一種導演方法，這場戲很容易讓人覺得下流，但是紹洛堅科的幽默和感情把它變成了一種近乎於健康的東西。從她1997年在哥倫比亞大學讀研期間編寫、導演處女電影《高雅藝術》(High Art)時起，把同性戀關係自然化一直是這位50歲的電影製作人創作過程的核心。“我開始拍電影時還沒有同性婚姻，這些在當時並不是中心議題，所以我感覺全球的情況可能已經發生了很大的改變，”紹洛堅科說。她的四部電影長片都探索了性慾以及它對人類境況的影響。在《孩子們都很好》中，她採取了一種更輕鬆的方式，她說自己目的是“做一些實驗性影片之外的嘗試，看看我能否與範圍更爲廣泛的觀衆取得聯繫”。紹洛堅科最近把她的注意力轉移到了另一個更復雜的家庭上，這一次是在沿海的緬因州，她導演的是HBO頻道的四集迷你劇《奧利弗·基特里奇》(Olive Kitteridge)，該劇改編自伊麗莎白·斯特勞特(Elizabeth Strout)獲得普利策獎的小說，將於今年秋季播出。對這個本子，她幾乎是一見鍾情：“裏面的人物真實、複雜、很有諷刺感，我喜歡他們黑暗又輕鬆的複雜性。”

Cholodenko's Formative Films

激勵紹洛堅科當導演的影片

One of the films that made her want to direct was Robert Redford's directorial debut, the family drama "Ordinary People."

激勵她走上導演之路的電影中，有一部是羅伯特·雷德福(Robert Redford)的導演處女作、家庭劇《普通人》(Ordinary People)。

LANA WACHOWSKI

拉娜·沃卓斯基(Lana Wachowski)

"It's insane how few female directors there are," says Lana Wachowski, 49, who, with her brother, Andy, has written, directed and produced big-screen spectacles so bombastic that they'd seem overblown if they weren't so well made. "In terms of the skill set directing requires — working with a large art community and trying to get the best out of all of these artists and trying to make all of that gel, all of these egos being in balance and harmony — those are things that women are socialized to do more than men." Two years ago, the notoriously private co-creator of "The Matrix" trilogy, "V for Vendetta" and "Cloud Atlas" received the Human Rights Campaign's Visibility Award, shortly after coming out publicly as transgender — thus becoming the first transgender woman to wield serious Hollywood clout. In her acceptance speech, she described how it felt growing up in a world that refused to see her for who she was. "I began to believe voices in my head," Wachowski said. "That I was a freak, that I am broken, that there is something wrong with me, that I will never be lovable." It brought the room to tears and was met with the equivalent of a standing ovation on the Internet. A stronger Lana has since emerged. "Only when you begin to interrogate why our society makes gender the fundament of our identity and why that distinction is so important to us — whether someone is a boy or a girl — then you begin to understand why there are so few female directors and politicians," she says. In part to make sure prejudice doesn't enter their place of work, the Wachowskis employ the same basic crew from film to film. "It's like family," she says. "Everyone is very respectful of each other." The Wachowskis' upcoming sci-fi projects include the film "Jupiter Ascending," starring Mila Kunis and Channing Tatum, and a foray into television with a top-secret Netflix series, "Sense8," which is currently being shot in nine cities around the world.

“女導演這麼少真是太不可思議了，”49歲的拉娜·沃卓斯基說。她和弟弟安迪(Andy)編寫、導演和製作的銀幕大片如此浮誇，要不是因爲確實拍得好，它們會顯得有點做過了頭。“從片場導演所需的技巧角度講——與一個龐大的藝術團隊合作，努力讓所有藝術家都表現出最好的一面，努力讓所有的人配合融洽，讓所有人的自尊心保持平衡、和諧——女人比男人更適合做這些事。”以低調出名的她，是《黑客帝國》(The Matrix)三部曲、《V字仇殺隊》(V for Vendetta)和《雲圖》(Cloud Atlas)的祕密聯合制作者。兩年前，在她以變性人身份公開露面後不久——因此成爲第一位具有好萊塢重要影響力的女變性人——獲得了人權戰線(Human Rights Campaign)的能見度獎(Visibility Award)。在獲獎感言中，她描述了在一個拒絕正視她真正自我的世界裏長大是什麼感覺。“我開始相信自己頭腦中的聲音，”沃卓斯基說，“那個聲音說我是怪人，我有問題，我有毛病，我永遠不會討人喜歡。”她的話讓在場的人熱淚盈眶，在網上引起的反響也如同長時間的起立鼓掌。一個更強大的拉娜從此誕生了。“只有當你開始質問爲什麼我們的社會把性別當做身份的基礎，爲什麼那種差別對我們如此重要——不管是男孩還是女孩——你就能開始理解爲什麼女導演和女政治家這麼少，”她說。在某種程度上爲了確保他們的工作場所沒有偏見，沃卓斯基姐弟每部電影都僱傭同樣一批覈心劇組成員。“就像是一家人，”她說，“大家彼此尊重。”姐弟倆即將出品的科幻電影包括《木星上行》(Jupiter Ascending)，主演是米拉·庫尼斯(Mila Kunis)和查寧·塔圖姆(Channing Tatum)。他們還涉足電視劇，正在爲Netflix公司製作高度保密的電視劇——《第八感》(Sense8)，目前該劇正在全球九個城市拍攝。

Lana Wachowski's Formative Films

激勵拉娜·沃卓斯基當導演的影片

One of the films that made her want to direct was Stanley Kubrick's iconic "2001: A Space Odyssey."

激勵她走上導演之路的電影中，有一部是斯坦利·庫布裏克(Stanley Kubrick)的代表作《2001太空漫遊》(2001: A Space Odyssey)。