Ang Lee─Bridging East and West through Film
更重要的是,《分界線》引起全球最大明星經紀公司威廉莫里斯的關注。李安原本計畫回台灣,但該公司一通電話說服了他留在紐約。但就算有威廉莫里斯這個經紀公司,李安蹩腳的英文還是讓他很難為拍片企畫找到製片。所以李安接下來六年,都在家當家庭主夫,由他在大學認識的妻子,微生物學家林惠嘉工作養家。但李安從來沒有放棄拍電影的夢想,而在他的兩部電影劇本於台灣政府新聞局主辦的一項比賽包辦第一、二名之後,他的機會終於來臨。
With the support of Taiwan’s largest movie studio, Lee was able to turn both screenplays into feature motion pictures: Pushing Hands (1992) and The Wedding Banquet (1993). Both films—the first about a tai chi master who retires to New York to live with his son and American daughter-in-law, the second about a gay Taiwanese-American who marries a Chinese woman to please his parents—explore the conflicts that occur when different cultures and generations clash. While Pushing Hands was a big hit in Taiwan, The Wedding Banquet was an international success, winning a Golden Bear at the Berlin Film Festival. Lee’s next movie, Eat Drink Man Woman (1994), a story about a retired Taipei chef and his three daughters that further explores the themes of his first two films, was an even greater success. The film won Best Foreign Language Film nominations for both the Golden Globe and Academy Awards, giving him the momentum he needed to break intoHollywood.
在台灣最大電影製片公司的支持下,李安得以將這兩個劇本拍成電影:《推手》(一九九二年)和《囍宴》(一九九三年)。兩部電影――第一部描述一位太極大師退休後到紐約與兒子和美國媳婦同住,第二部則是一位台裔美籍男同性戀娶了中國妻子取悅父母的故事――皆探討了不同文化與世代碰撞時所發生的衝突。《推手》在台灣相當賣座,《囍宴》則在國際大放異彩,贏得柏林影展金熊獎。李安的下一部電影《飲食男女》(一九九四年)――一名退休的台北廚師和他三個女兒的故事,進一步探討前兩部片的主題――獲得更大的成就。這部電影同時獲得金球獎和奧斯卡金像獎最佳外語片提名,給了他所需的動能打進好萊塢。
文章出處:《歷史名人堂Hall of Fame:EZ TALK總編嚴選閱讀特刊》
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