短视频正在毁掉年轻人，诺兰：这些人都不会思考了！#纪实风云 #纪录片 #诺兰

Summary

The transcript captures a thought-provoking conversation with a filmmaker who values the discipline of doing nothing and thinking. He discusses his approach to storytelling, particularly in the thriller genre, and the influence of masters like Hitchcock. The director shares his creative process, challenges of making a war film like 'Dunkirk', and his philosophy on filmmaking as a form of manipulation to engage audiences consciously. He also reflects on his role in the evolution of Hollywood and the importance of balancing blockbuster films with original content.

Takeaways

• 🤔 The individual values discipline and thoughtfulness over trivial use of technology.
• 🎬 The person appreciates the thriller genre and the subjective nature of storytelling in film.
• 🧐大师级导演如希区柯克和克鲁索如何通过操纵观众的感知来讲述故事，这一点令其着迷。
• 🌍 The creative process is invigorating when dealing with a historical setting that already exists, as opposed to creating a world from scratch.
• 🚫 The feeling of making a war film without personal experience in warfare is daunting, but approaching it as a survival story can provide confidence.
• 🎥 The director's role involves a variety of responsibilities and does not require specific strengths or weaknesses, but rather a general competence in many areas.
• 📝 Writing is the aspect of filmmaking where the limitations of one's abilities are most felt, especially in executing ideas.
• 🌟 The director is inspired by other filmmakers' ability to create worlds and has a fascination with the visual side of filmmaking.
• 📈 The director feels a responsibility to contribute to the evolution of Hollywood while balancing blockbuster films with original content.
• 🕒 The director's philosophy on movies is that all cinema is manipulation, but the key is whether this manipulation is apparent or hidden.
• 👥 The film 'Dunkirk' aims to confront the notion that one cannot truly know how they would behave until faced with a dire situation.

Q & A

What does the speaker value in terms of technology usage?

The speaker values the discipline of doing nothing and thinking, rather than filling time with trivial technology usage.

How does the speaker describe their approach to storytelling?

The speaker prefers a form of storytelling related to the thriller genre, where identity is not taken for granted and the audience's perceptions can be manipulated.

What was the speaker's creative process like for a film like 'Dunkirk'?

The speaker's creative process for 'Dunkirk' involved researching and exploring the pre-existing historical world of the film, rather than building the world from the ground up.

How does the speaker handle the responsibility of portraying war in their films?

The speaker approached 'Dunkirk' as a survival story rather than focusing on the war itself, aiming to tell a suspenseful story without being presumptuous or self-indulgent.

What is the speaker's perspective on the role of a director?

The speaker sees the director's role as not being responsible for any one specific thing, but rather having a broad knowledge and ability across various aspects of filmmaking to inspire and focus the team.

How does the speaker feel about the challenges of writing in filmmaking?

The speaker finds writing to be the aspect where they feel the limitations of their abilities the most, as it involves the difficulty of executing ideas that may initially seem promising.

Which writer has had a significant influence on the speaker?

The speaker mentions being inspired by the Argentinian writer Borges, particularly in relation to the concept of 'Inception'.

How does the speaker view their place in the tradition of Hollywood?

The speaker feels a responsibility to contribute to the evolution of Hollywood, balancing the growth of franchise properties with original films that bring something unfamiliar to audiences.

What philosophical stance does the speaker have on cinema?

The speaker believes that all cinema is a form of manipulation, involving choices that directors make to influence the audience's perceptions and feelings.

How does the speaker approach the portrayal of human nature in 'Dunkirk'?

The speaker aims to portray a more realistic and flawed view of human nature, emphasizing that people cannot truly know how they would behave until faced with a situation like that in 'Dunkirk'.

What is the speaker's strategy for manipulating the audience's experience in 'Dunkirk'?

The speaker uses different timelines running at different time scales and puts the manipulation of the audience's feelings towards time in the foreground, aiming for an honest and conscious involvement in the story.

Outlines

00:00

🤔 Reflecting on Technology and Modern Life

The speaker discusses their disinterest in using email and phone, considering much of technology usage as trivial and time-filling. They value the discipline of doing nothing and thinking, rather than being constantly connected. The conversation shifts to the importance of storytelling and the speaker's appreciation for the thriller genre, particularly how it allows for the manipulation of audience perceptions and sympathies. The discussion also touches on the challenges of creating a film set in a historical context, as opposed to imagining future scenarios.

05:16

🎬 The Art of Suspense and Filmmaking

The speaker delves into their fascination with the thriller genre and the influence of masters like Hitchcock and Cluso. They explain how these filmmakers understood the power of manipulating audience perceptions. The conversation then moves to the creative process of making a film based on real historical events, as opposed to constructing a completely fictional world. The speaker shares their approach to making a war film, focusing on survival rather than taking a stance on war itself.

10:17

🌟 Embracing the Role of a Director

The speaker talks about the multifaceted role of a director, emphasizing the importance of focusing on the story and themes rather than getting too self-conscious. They discuss the creative process behind making an intense film and the ambition to make a cinematic telling of war. The speaker also shares their philosophy on filmmaking, including the responsibility to make a necessary film and the importance of not worrying about the scale of the project.

15:18

📚 Inspiration and Overcoming Writing Limitations

The speaker expresses their admiration for Borges, an Argentinian writer, and how his work has been an inspiration. They discuss the limitations of writing and the challenge of executing ideas. The conversation also touches on the role of a director in the filmmaking process, highlighting the director's ability to inspire and focus the team without needing to have specific strengths in every area.

20:28

🎥 The Philosophy of Cinema and Manipulation

The speaker shares their philosophy on cinema, viewing it as a form of manipulation through choices made by the director. They discuss the film 'Dunkirk' and how they used the element of time manipulation to involve the audience consciously. The speaker also talks about their role in the evolution of Hollywood, balancing the growth of superhero films with original content, and their desire to contribute something unique to the industry.

Keywords

💡modern world

The term 'modern world' refers to the contemporary age, characterized by rapid technological advancements and global interconnectedness. In the video, the speaker expresses a certain detachment from common technological engagements, suggesting a critical perspective on how people interact with the modern world. The speaker values thoughtfulness and discipline over trivial uses of technology, indicating a preference for meaningful engagement over mindless consumption.

💡discipline

Discipline, in the context of the video, refers to the practice of self-control and dedication to improving oneself through focused effort and the pursuit of meaningful activities. The speaker values the discipline of 'doing nothing' and thinking, which contrasts with the triviality they perceive in much of modern technology use. This highlights a preference for introspection and deep thought over constant digital engagement.

💡thriller genre

The 'thriller genre' is a category of literature, film, and television that is characterized by suspense, tension, and excitement, often involving complex plots with unexpected twists. In the video, the speaker expresses a fondness for this genre, appreciating the storytelling form that aligns audience perceptions with specific characters and manipulates their sympathies. This genre's appeal lies in its ability to challenge and play with notions of identity and truth.

💡objectivity

Objectivity refers to the quality of being unbiased, fair, and impartial. In the context of the video, the speaker discusses how the camera in films often pretends to be objective but is inherently subjective, especially when used to manipulate audience perceptions. This concept is central to the art of filmmaking, where the director's choices can shape the narrative and influence how the audience interprets the story.

💡narrator

A narrator is the person who tells a story, either in literature or film. In the video, the concept of the narrator is discussed in the context of stories where identity is not fixed, and the line between the good guy and the bad guy is blurred. The speaker finds this fluidity of identity intriguing and it's a theme they enjoy exploring in their work, where the role of the narrator can be as complex as the story itself.

💡creativity

Creativity refers to the use of imagination or original ideas to create something new or to think of new methods. In the video, the speaker discusses how their creative process is influenced by the historical context and the existing world they are portraying in their films. The speaker finds it invigorating to work within a real-world framework, as opposed to constructing an entirely fictional universe from scratch.

💡survival story

A 'survival story' is a type of narrative that focuses on characters struggling to stay alive in the face of adversity or life-threatening situations. In the video, the speaker chose to approach the film 'Dunkirk' as a survival story, which allowed them to tell a suspenseful narrative without the pressure of depicting the actual events of war. This approach enabled the speaker to confidently convey a story that resonates with audiences, without feeling presumptuous about the portrayal of war.

💡self-consciousness

Self-consciousness refers to being acutely aware of one's own thoughts, actions, or appearance. In the context of the video, the speaker discusses the different stages of filmmaking, where they become very self-conscious when discussing their films because they are being scrutinized. However, during the creative process, the speaker prefers to focus on the story and themes instinctively, rather than being overly self-conscious.

💡philosophy

Philosophy is the study of general and fundamental questions about existence, knowledge, values, reason, mind, and language. In the video, the speaker implies that their approach to filmmaking is influenced by philosophical thinking, as they are drawn to films that challenge the audience's perceptions and question the nature of identity and reality. This philosophical inclination is evident in the speaker's preference for thrillers and suspenseful storytelling.

💡Hollywood tradition

The 'Hollywood tradition' refers to the established norms, practices, and styles that have characterized the American film industry, particularly in Hollywood, over the years. In the video, the speaker reflects on their place within this tradition, acknowledging the influence of past filmmakers while also striving to contribute something unique to the evolution of cinema. The speaker's work with superhero films and original narratives reflects an attempt to balance commercial success with creative innovation.

💡manipulation

In the context of the video, 'manipulation' refers to the director's ability to influence and shape the audience's perceptions and emotional responses through cinematic techniques. The speaker views cinema as a form of manipulation, but one that is based on choices and the director's intent to involve the audience consciously in the storytelling process. This 'honest manipulation' is used to create an immersive and engaging experience.

Highlights

The importance of discipline in technology use and valuing thoughtfulness over triviality.

The preference for storytelling in the thriller genre and its relation to subjective camera work.

The influence of great suspense masters like Hitchcock and Cluso on the perception of character identities.

The creative challenge of working within a pre-existing historical context as opposed to constructing a fictional world from scratch.

The approach to creating a war film by focusing on a survival story rather than war itself.

The director's personal connection to war through his grandfather's service in World War II.

The director's philosophy on filmmaking as an art form that balances technical skills with thematic depth.

The importance of balancing big-budget productions with original, innovative films in the industry.

The director's view on the role of a director as a facilitator of various artistic talents rather than a specialist in one area.

The challenge of translating an idea into a screenplay and the limitations of writing.

The inspiration drawn from other writers and the impact of admiration on one's own creative direction.

The director's place within the Hollywood tradition and the contribution to the evolution of filmmaking.

The concept of cinema as manipulation and the director's role in shaping audience perceptions.

The technique of using different timelines to immerse the audience in the subjective experiences of characters.

The exploration of human nature and the unpredictability of behavior in extreme situations.

The director's perspective on the role of cinema in shaping a realistic and human portrayal of events.

Transcripts

you said you don't use email and no

phone how to connect with the fast

changing modern

world I think a lot of what people do

with technology is very trivial actually

and very you know it's just filling time

uh I value I value the discipline of of

just doing nothing yeah and thinking and

just trying to puzzle out what is you're

working

on

m

[Laughter]

m

for

for

um

uh but

do

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go

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hey nice to meet you hi want some tea or

you have tea I brought my own thank you

good so you must be very tired not too

bad I was in Asia anyway so I'm not

L how about

to yeah yeah we start yeah already fine

don't

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worry

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[Applause]

got

he's on

me

fore

fore

for

for SC SC

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Scott

and both you know movies people always

very ambiguous about his own identity

his the fictional word and the true word

why this kind of things attract you so

much I mean it's become your MJ

subject

to it's from a kind of philosophical

thinking

of my favorite types of films have

always

somehow related to the Thriller genre I

like that form of Storytelling and I

because the camera pretends to be

objective yes but it's not you know it's

very subjective particularly if you

choose to use it in that way um and so

the great masters of suspense like

Hitchcock and cluso they understood how

to manipulate how to align an audience's

perceptions with one character or

another with their sympathies going to

one character or another um and I think

that stories in which you can't take

identity for granted even the identity

of the

narrator who's the good guy who's the

bad guy you know it's it's a fun thing

to play

with in the past you Al you always

imagine the future or you imagine the

maybe not very concrete things concrete

situation but now you facing the very

concrete historical place and uh event

so I mean the two imagination are very

different for you or similar and imagine

well I I found it um creatively I I

found it invigorating because the key

difference is that the world of the film

which is something you normally the

world of the film is something in which

as a writer I'm normally engage in

constructive

from the ground up particularly in a

film like Inception for example or uh

Interstellar um you know the script has

to create the entire world of the film

and the terms of it that part of it was

already done for me dun that exists it's

real and so all I had to do was research

it and read about it and so my creative

process was then different I didn't have

to build that I had to explore it quite

honestly the feeling of presumptuousness

about making a wol as somebody who's

never been to War I would I mean it's my

worst nightmare to imagine having to

fight a

war I had the privilege in my

grandfather was in the Air Force and he

died in World War II and I took my

children to go and visit his grave is

buried in France and

um when you look at the gravestones of

the people who actually died in this and

you think okay we're going to make an

entertainment we're going to make a you

know a cinematic telling of of War

that's very daunting and and it's

difficult to know how to go about that

for me the solution was to not look at

Don Kirk as a warm to look at as a

survival story and that I felt confident

of I felt confident of being able to

tell a

suspenseful story uh about

survival could or should director be of

philosopher I mean maybe you industry

produce your own Michelle FAL produce

your own Niche do you cannot see the

parallel between them well I think I

think for

me that would be too much of a it would

be too self-conscious to look at film

making that way um one of the pleasures

of talking about the F but you are very

self-conscious well not not at different

stages so you become very self-conscious

when you're talking about the film

you've made because you're being asked

you you know uh for me I like to really

stay focused on the story

and the themes of the film I like to try

and do that

instinctively rather than

self-consciously and I sort of trust

that the way in which I know how to make

a film technically that if there are

things that

are interesting to me philosophically

that they'll sort of somehow they'll be

there so for example with d Kirk we've

tried to make a very intense film that

and that was really really the ambition

and so the film's attitude to war

therefore for me had to

be not

self-conscious I didn't want to make a

film that was an anti-war film or proar

film or anything I wanted to make a film

that present my point of view on it and

enjoy that so from the the sounds a

little

self-indulging

yeah do worry about that maybe the genre

maybe the big big production maybe

Staffing your creativity I mean from

following insomnia the different parts

do you worry about it oh I don't I

mean I have worried about it in the past

in the case of this

film I very much chose to not worry

about it I very much chose to just say

this is a huge film that for a British

person particularly it's a necessary

film to be made somebody's going to make

it I want to be the person to make it um

and so I'm a responsible filmmaker and I

try and you know we made the film

efficiently we made it for a good price

for the studio and everything uh that

was our way of kind of dealing with the

practicalities but beyond that I did not

worry too much about the scale I just

said you know what we're just going to

make the film right and we need planes

and we need ships and we need thousands

of people and we're just going to make

this film and uh I think

that was important to do MH because the

rational part of my brain to sort of you

know the businessman if you like

MH what's the most Flor part of yourself

I don't want to go there I think too

much

[Laughter]

tea from the the first idea of the movie

until the finish the whole whole thing

the whole process what's the weakest

part of your in the whole process for

yourself the weakest part weakest

yeah gosh

um that's a difficult thing to answer

because the way the job of director

works is you

don't what I like about it is you're not

responsible for any one thing mhm and so

your responsibilities are spread you you

get to dabble you do a bit of everything

and

so for me it's not really about

weaknesses and strengths it's about an

overall I suppose an overall mediocrity

it's like I sort of I have to be pretty

good and kind of know quite a bit about

a lot of different things and so that's

kind of fun you don't have to be you

have experts around you I have a you

know fantastic Director of Photography I

have a fantastic designer I have a

fantastic editor and everything so I'm

really just there to sort of you know

try and give them focus and try and

Inspire them to do their best work um

and I think that's one of the reasons I

really like the job of director so you

don't really I'm not the member of the

team who has to have a specific strength

a specific weakness I sort of need to be

pretty good at a bunch of different

things and kind of just keep must be

Fox is there some some kind of

limitation you you hate it you want to

overcome it

I you

know you feel very much when you're

writing you feel the limitations of your

ability writing I think more than any

other aspect of film making is the one

where you have a

notion you have an idea underly and then

you're confronted with the absolute

difficulty of executing that it's very

very tough are there some writers

inspire you a

lot I was drawn to

um the writer I always point to is is

bores Argentinian writer stor my

favorite oh really yeah also about kind

of inception thank you very much yeah a

return to movie director you are

inspired by SC and this compare you

today's achievement with him so how do

you think about your

Innovation with them with him how am I

doing I I mean J it's not for me to say

um I think that interestingly

um the thing about Really Scott for me

that that captured my

imagination as a teenager and he always

stuck with me is his incredible ability

to create worlds and this fascination

with the visual side of film making and

an ability to to do that and so I when I

of making my films I think I pushed in a

very different direction and so my films

have been more about narrative I think

more about writing in a way uh and it's

almost that thing of the people you

admire so much you sort of need to to do

something you know different in in a

different way yeah today's you are you

are viewed as the representative for

today's

Hollywood and how do you how do you

think about the tradition of Hollywood I

mean from the John Ford from the Copla

until

James Cameron and here you I mean you're

part of tradition or how do you define

the tradition and do you do some

contribute something different in the

tradition well I think

um it comes back to everybody here

wanting me to talk

about Judge myself well no it's very

tough uh what I feel a responsibility to

do what I'm trying to do yeah is add

something to that development or that

Evolution but I would be lying if I said

I knew what it was that I could or had

done

um I've been very gratified by some of

the responses to dkirk where people

have felt that it is different or that

it adds something a little bit different

to um you know what you know a summer

blockbuster from Hollywood studio can be

you know whatever the thing I've tried

to do was I play a very big part

in uh you know the growth of uh or the

dominance I would say of superhero films

you know franchise properties and

everything and and you know that was an

incredibly important thing in in my

career I've always tried to balance that

side of of film making with original

films and and bring things that aren't

familiar to an audience uh but it's

difficult I mean in television everyone

always talks about how great TV is today

and how amazing it is and how much

better it is let's see films we we have

the opposite you you look at you say

well if if this film doesn't have some

unique point of view to it if it doesn't

have a strong point of view it's not

going to be interesting to people of

today could you imagine if you were in

Dunkirk what kind of role you will be

played you'll be desperate or you'll be

hopeful or braa all

C I think what the film tries to say

very strongly is we cannot know until we

are faced with the situation we like to

think that we would

behave in a noble way I wanted to be

more more real than that you know human

beings we're very

flawed yeah

creatures okay thank you so much thank

you running out thank you yeah next time

we can talk about B

yeah

yeah he well known China yeah quite

popular in among writers and the

thinkers yeah interesting but good TR

thank you very much nice take

care

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for

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fore

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consistent

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foree

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for

yeah

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from the following until now 20 years

past so what's your point of philosophy

on movie you know I think it was Alan

Parker who said all Cinema is

manipulation so to call it

manipulative interesting um and I guess

the question is if all Cinema is

manipulation which I think it is it's

all choices and I believe the director

has a very strong ability to manipulate

the perceptions of the audience the

question is do you do films where the

manipulation is apparent or where it's

hidden so for example with Dan Kirk a

lot of the men on the beach they were

never face to face with the Enemy they

were just suffering the ordinance from

the enemy they were suffering the planes

coming in and dropping bombs the mortars

and so forth that fear of the unknown

closing in going to say okay I want to

involve you and that I want to let you

know that these three different

timelines in no they're running at

different times time scales for example

I want you to be aware of that because I

sort of want you to be constantly

reminded of The Limited point of view of

each of the stories that you're you're

trapped in a subjective experience what

I do is I take that capacity for

manipulating your feelings towards time

and I put it foreground

that really puts you you know there with

those people on the beach or puts you in

the cockpit of a Spitfire in a dog

fighting the the ger planes above the

beach I'm trying to involve the audience

consciously in that process rather than

it being invisible manipulation it's

it's honest manipulation if you

like Mr Christopher

[Applause]

noan

what's the mosto part of

yourself I don't want to go there I

drink too much

tea