MEETING WOODY ALLEN

Jean-Luc Godard and Woody Allen. Just by those two names you will know if this short interview-film, which has been seen by likely less than a hundred people since it was filmed almost twenty years ago, will be worth to see (and 80's era Godard and Woody no less). Basically, you get Godard's madman sensibilities as a filmmaker, playing around with the structure of a director interview, and you get Woody Allen's insights. Ironically, I think this was made for video, or at least shot on it (maybe it was shot on film, I'd have to look it up), and more than half of the interview is based around the idea (that Godard proposes and Allen agrees with when understanding) that television is a corrupter of the audience. But along with questions, and even more interesting answers, about television, there are also questions and answers about the film-making process, and how Allen feels about it. While at times Godard tries to back up to TV again, one does get of course what Allen is like- immensely underrating his films once finished, and at times finding the film-making process to be more of a distraction from the other horrors of the world. Godard does (and sometimes doesn't) succeed in adding to these words of Allen's with spliced in images from his films, other filmmakers (Orson Welles), and New York city buildings, among other swell oddities.

Really, it isn't the most intriguing interview with Woody to date, but to see what his take on film-making, TV, Hannah and Her Sisters, and other things was like then in 86 is worth a peek. That it IS Godard at least brings some initial fascination, then some frustration, then, well, acceptance. This is a fairly courageous way of presenting what could be standard, pat-on-the-back interview fare (Godard does pay a compliment once or twice 'Hannah', though that's it, in his old-school Cashiers du Cinema ways). How Allen feels about his films won't be news to those who saw Richard Shickel's documentary on him. But just to have this film in your possession- if you would feel as strong a compulsion to see it based on the two names of the directors (known in their countries as the most intellectual, stimulating, &/or pretentious filmmakers around)- is a temptation that somehow lured me in. However, if you do seek it out, know well that the copy of the video will more likely than not be watchable only up to a point. It's literally one of those (perhaps minor) works by a director that end up on lists of all-time rarities, for better or worse.

了解一位电影大师的真实个性和创作心路最好途径是什么？也许就是倾听他们的声音。尤其当来访者是另一位电影大师时，两种不同思维风格的碰撞是最好的铨释方法。

当世界上最变态的电影导演遇见世界上也许是最聪明的导演时，注定这将是影史上最有趣的一次会晤。戈达 vs 伍迪.艾伦，这样的组合是否能让你内心激动呢？戈达，法国影史上最有个性最自命不凡的电影狂人，伍迪.艾伦，好来污知识型电影导演的杰出代表，在1986年的某月某日，他们在纽约的一间小公寓里见面了。那年他56，那年他51，那年他已完成《万福玛莉娅》，那年他刚拍完《汉娜和她的姐妹》。。。当然这不是两个半老眼镜男人之间的腥腥相吸，两位电影大师坐在一起，聊的可能就不止是电影这么简单了，伍迪也许是遇见了世界上最懂电影却又最尖酸刻薄的一位提问者，而戈达碰见的却是世界上最睿智最有洞察力的回答者，我们不知道是伍迪在戈达复杂尖锐的问题下生还，还是戈达被伍迪机智敏锐的思维所折服，戈达就那么坐着，抽着雪茄，一个个问题随着烟圈从他口中轻描淡写地冒出来，而伍迪呢，坐在对面，看上去似乎有点紧张，甚至有点不知所措，因为他清楚自己面对的是强悍的对手，这场对决也许远不如狼外婆与小红帽那样阴险狡诈，但也决非像练太极推手一般逍遥自在，一如戈达所说，我们要弄清楚的是究竟是“Stanislavski”还是“Staline loves ski”，看似简单实则深奥，谁知道呢。

当然，戈达从来就是一个特立独行的家伙，在他的影片里绝不允许对手的论调占据始终，而反击的最好武器是什么，就是他的影像，无论你伍迪.艾伦说的再多，每到关键点戈达总要“插播”点自己个人风格的东西，比如背景所采用的自由爵士风格音乐，比如时不时出现的戈达标志式的慢动作回放，比如那些叠加式的图片和绘画，关于好来污的电影明星们，奥逊.威尔斯，还有纽约的新潮别墅建筑什么的，不仅体现了戈达后期实验作品所特有的拼贴剪辑风格，而且也暗示出他对美国与法国文化和电影创作模式的迥异所产生的兴趣。

其中有段特搞笑的内容让我印象颇深，戈达连续讲了一长串的法语，然后坐在旁边的翻译MM同步翻译英语，我只听得“。。。I don't have to ask my father and mother。。。FxCKING do it。。。”从她嘴里蹦出来，MM当场愣了一下，不过还是很快把那词给照搬出来了，伍迪笑了，我也笑得差点没背过去，呵呵，Sick Godard，您不如把法语骂街的词都说出来吧，还是存心害人家翻译MM呢？。。。

4444(创建者)