重塑好莱坞的六位人气女导演

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.

受到影评家赞扬的新一代女导演不再仅仅满足于拍电影，她们还在与男导演进行票房的较量——重新定义身为好莱坞女性的意义。

SAM TAYLOR-JOHNSON

萨姆·泰勒-约翰逊(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。纪律。马鞭。当E·L·詹姆斯(E. L. James)引起轰动的施虐受虐癖小说《格雷的五十道阴影》(Fifty Shades of Grey)宣布将改编成电影后，乔·莱特(Joe Wright)、格斯·范·桑特(Gus Van Sant)和贝尼特·米勒(Bennett Miller)等男导演被认为是最有可能的人选。但是，最终执导该片的是曾获特纳奖提名的萨姆·泰勒-约翰逊。她是四个孩子的母亲，只拍过一部长片——《不知名的男孩》(Nowhere Boy)——它是关于年轻时的约翰·列侬(John Lennon)冥思式的传记片。“我喜欢尽可能无所畏惧地接受巨大挑战，这（执导《五十道阴影》）无疑就是，“47岁的泰勒-约翰逊说，“但是我并不觉得这跨出了我的思想或创造力领域。我的很多作品与性欲、力量转换和身份有关。”虽然拍摄这样一部被成百上千万的女人如饥似渴地阅读，同时也被批评家们以同样的热情嘲弄——称它“对你有害”，是给“傻瓜看的施虐受虐癖小说”，“是一本黄书，幼稚、简单”——的电影会面临巨大压力，但这位伦敦本地人还是把这部明年初就要上映的电影拍得像是一部独立制作，“这样就不用弄得气势恢宏，”她说，“我想让它尽量紧凑，让每个人都感觉被支持，特别是考虑到很多素材很敏感。”当提到敏感素材以及如何处理时，泰勒-约翰逊想起了凯瑟琳·毕格罗(Kathryn Bigelow)的色情惊悚片《霹雳蓝天使》(Blue Steel)中的几个平静时刻之一——杰米·李·柯蒂斯(Jamie Lee Curtis)扮演的新警察慢慢穿上一个黑皮靴。“它只是一个镜头，”她说，“但是我记得当时我想，天哪，这太有冲击力了。然后我看了一下演职员表，非常惊讶地发现——哇唔——导演是个女的。”

Taylor-Johnson's Formative Films

激励泰勒-约翰逊当导演的电影

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.

激励她走上导演之路的电影中，有一部是约翰·卡萨维兹(John Cassavetes)的《受影响的女人》(A Woman Under the Influence)，主演是彼得·福克(Peter Falk)和吉纳·罗兰兹(Gena Rowlands)。

JENNIFER YUH NELSON

詹妮弗·余·尼尔森(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."

获得奥斯卡提名的《功夫熊猫2》(Kung Fu Panda 2)2011年在全球赚了5亿多美元，它使詹妮弗·余·尼尔森成为当时票房记录最高的女导演（如今这一殊荣属于去年《冰雪奇缘》[Frozen]的联合导演詹妮弗·李[Jennifer Lee]）。所以，梦工厂动画公司的首席执行官杰弗瑞·卡森伯格(Jeffrey Katzenberg)又请她执导《功夫熊猫3》(Kung Fu Panda 3)也在情理之中，目前她正在和一个约350人的团队制作该片。每部《功夫熊猫》从概念到完成都要花三四年时间制作，但尼尔森相信，动画片的吸引力是永恒的，所以重要的是创作出具有持久魅力的东西——“一部你观看、思考并与之一起成长的电影”。尼尔森的成功出人意料，因为她在执导《功夫熊猫》系列之前最重要的工作是在2005年的电影《马达加斯加》(Madagascar)中担任画故事板的美工，不过她处理这个体裁的方式也许与此有关：“我是从实景拍摄的角度思考，”42岁的尼尔森说道。她亲自和一个美工团队设计电影的场景草图。尼尔森出生于韩国，在加利福尼亚州莱克伍德市长大，她的两个姐姐也是故事板美工，她在加州州立大学长滩分校学过插画。鉴于她对动画片的热情，她成长过程中最喜欢的电影有点出人意料：“《终结者》(Terminator)，”她大笑着说，“我能背出里面的每一句台词。”

Nelson's Formative Films

激励尼尔森当导演的电影

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

激励她走上导演之路的电影中，有一部是1989年的武打科幻电影《机械超人》(Cyborg)。

AVA DuVERNAY

阿娃·迪韦奈(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.

在罗伯特·奥尔特曼(Robert Altman)讽刺好莱坞的电影《玩家》(The Player)中，一个油腔滑调的电影公司主管说，“我在想，把编剧从艺术创作过程中清除出去该多有趣啊。如果我们能甩掉这些演员和导演，也许我们能在这里干一番事业。”阿娃·迪韦奈的想法则相反。“我从一开始就自己出钱拍自己的电影，”这位42岁的导演、编剧、制片人、发行人和宣传（一度兼职）说，“我的路一直是独立自主的，所以我没有遭遇女性晋升的玻璃天花板、种种期望、紧张的电影公司会议这样的恐怖经历。”迪韦奈2008年创立自己的电影公司向前运动(Forward Movement)，2012年凭借电影《无人知晓》(Middle of Nowhere)成为首位获得圣丹斯电影节最佳导演奖的黑人女性。虽然掌控自己的公司意味着她从来不必获得别人许可才能拍电影，但是在实际拍摄过程中迪韦奈仍遇到了一些障碍。“女性导演必须考虑另一套完全不同的东西，特别是在选男演员时，因为有些男演员从未拍过女人导演的电影，”她说，“选择剧组人员也是如此。你在街上跟一个黑人女性打交道的方式与你在片场跟这个黑人女性打交道的方式将是不同的，有好几次协商进行得不太好。”迪韦奈的第四部长片是《塞尔玛》(Selma)，它讲述的是1965年小马丁·路德·金(Martin Luther King Jr.)领导的争取投票权的运动。奥普拉·温弗瑞(Oprah Winfrey)和布拉德·皮特(Brad Pitt)是该片的联合制片人。

DuVernay's Formative Films

激励迪韦奈当导演的影片

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

激励她走上导演之路的电影中，有一部是斯派克·李(Spike Lee)的《爵士风情》(Mo' Better Blues)。

SARAH POLLEY

萨拉·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.

萨拉·波利首次引起主流注意是通过一部充满摇头丸的狂欢历险电影——《前进》(Go)，但是她喜欢留在原地。“我有这样一个理论：电影制作人们在电影媒体出现前的时代会分为两类：作家和探险家，”这位35岁的演员、编剧和导演说。她选择留在祖国加拿大，而不是进行典型的好莱坞朝圣。“探险家会离开去寻找未见过的土地。我肯定属于作家那一类。”虽然波利主要是电影编剧，但她也导演过三部长片，包括爱情片《柳暗花明》(Away From Her)和去年上映的自传体纪录片《我们讲述的故事》(Stories We Tell)——前者为她赢得了2008年奥斯卡最佳改编剧本奖提名；后者获得了影评家的好评，讲述的是母亲去世后她发现了自己家族的秘密。“我更容易想像自己写了一个剧本让别人去导演，但是很难想像让我去导演别人写的一个剧本，”她说。波利是电影圈的老将，四岁就得到第一个角色，曾参演凯瑟琳·毕格罗(Kathryn Bigelow)和伊莎贝尔·科塞特(Isabel Coixet)等其他女导演的影片，所以她十分了解女人想在家庭和事业之间保持平衡时面临的挑战。“我想，应该有一种文化，让女人既有时间陪家人，还能保持很好的职业道德去拍电影，”她说，“现在这种文化不存在。”但是，波利还是做到了。目前她正在多伦多——她和丈夫以及两个女儿住在这里——把玛格丽特·阿特伍德(Margaret Atwood)的历史小说《别名格雷斯》(Alias Grace)改编成六集迷你剧。

Polley's Formative Films

激励波利当导演的影片

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

激励她走上导演之路的电影中，有一部是泰伦斯·马利克(Terrence Malick)的“二战”史诗影片《细细的红线》(The Thin Red Line)。

LISA CHOLODENKO

莉莎·绍洛坚科(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·绍洛坚科获得奥斯卡提名的影片《孩子们都很好》(The Kids Are All Right)的开头，安妮特· 贝宁(Annette Bening)和朱利安·摩尔(Julianne Moore)扮演的同性恋情侣一边观看两个男人在一辆福特Ranchero皮卡的后座上做爱的视频，一边进行前戏。如果用另一种导演方法，这场戏很容易让人觉得下流，但是绍洛坚科的幽默和感情把它变成了一种近乎于健康的东西。从她1997年在哥伦比亚大学读研期间编写、导演处女电影《高雅艺术》(High Art)时起，把同性恋关系自然化一直是这位50岁的电影制作人创作过程的核心。“我开始拍电影时还没有同性婚姻，这些在当时并不是中心议题，所以我感觉全球的情况可能已经发生了很大的改变，”绍洛坚科说。她的四部电影长片都探索了性欲以及它对人类境况的影响。在《孩子们都很好》中，她采取了一种更轻松的方式，她说自己目的是“做一些实验性影片之外的尝试，看看我能否与范围更为广泛的观众取得联系”。绍洛坚科最近把她的注意力转移到了另一个更复杂的家庭上，这一次是在沿海的缅因州，她导演的是HBO频道的四集迷你剧《奥利弗·基特里奇》(Olive Kitteridge)，该剧改编自伊丽莎白·斯特劳特(Elizabeth Strout)获得普利策奖的小说，将于今年秋季播出。对这个本子，她几乎是一见钟情：“里面的人物真实、复杂、很有讽刺感，我喜欢他们黑暗又轻松的复杂性。”

Cholodenko's Formative Films

激励绍洛坚科当导演的影片

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

激励她走上导演之路的电影中，有一部是罗伯特·雷德福(Robert Redford)的导演处女作、家庭剧《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.

“女导演这么少真是太不可思议了，”49岁的拉娜·沃卓斯基说。她和弟弟安迪(Andy)编写、导演和制作的银幕大片如此浮夸，要不是因为确实拍得好，它们会显得有点做过了头。“从片场导演所需的技巧角度讲——与一个庞大的艺术团队合作，努力让所有艺术家都表现出最好的一面，努力让所有的人配合融洽，让所有人的自尊心保持平衡、和谐——女人比男人更适合做这些事。”以低调出名的她，是《黑客帝国》(The Matrix)三部曲、《V字仇杀队》(V for Vendetta)和《云图》(Cloud Atlas)的秘密联合制作者。两年前，在她以变性人身份公开露面后不久——因此成为第一位具有好莱坞重要影响力的女变性人——获得了人权战线(Human Rights Campaign)的能见度奖(Visibility Award)。在获奖感言中，她描述了在一个拒绝正视她真正自我的世界里长大是什么感觉。“我开始相信自己头脑中的声音，”沃卓斯基说，“那个声音说我是怪人，我有问题，我有毛病，我永远不会讨人喜欢。”她的话让在场的人热泪盈眶，在网上引起的反响也如同长时间的起立鼓掌。一个更强大的拉娜从此诞生了。“只有当你开始质问为什么我们的社会把性别当做身份的基础，为什么那种差别对我们如此重要——不管是男孩还是女孩——你就能开始理解为什么女导演和女政治家这么少，”她说。在某种程度上为了确保他们的工作场所没有偏见，沃卓斯基姐弟每部电影都雇佣同样一批核心剧组成员。“就像是一家人，”她说，“大家彼此尊重。”姐弟俩即将出品的科幻电影包括《木星上行》(Jupiter Ascending)，主演是米拉·库尼斯(Mila Kunis)和查宁·塔图姆(Channing Tatum)。他们还涉足电视剧，正在为Netflix公司制作高度保密的电视剧——《第八感》(Sense8)，目前该剧正在全球九个城市拍摄。

Lana Wachowski's Formative Films

激励拉娜·沃卓斯基当导演的影片

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

激励她走上导演之路的电影中，有一部是斯坦利·库布里克(Stanley Kubrick)的代表作《2001太空漫游》(2001: A Space Odyssey)。