作者公眾號：如果在澳門 小廢話兒： Marco Martins的《Saint George》曾參加過2016年威尼斯電影節的競賽單元，并且奪得最佳男主角。而在剛結束的第一屆澳門影展，評審委員會打破每個電影只給一個獎項的管理，頒給了這部電影兩個重要獎項——“最佳導演”和“最佳男演員”。 本文已以中英雙語刊登于2017年1月《澳門特寫》雜志。

這次您的電影在第一屆澳門國際影展暨頒獎典禮上斬獲兩個大獎。請問您此時感想如何？ 我們在做電影時，就沒想過拿獎的事情，我們只關心電影的觀眾受眾群。但的確，獎項也很重要，它會讓更多的觀眾和媒體都注意到這部電影。像這部與政治相關的電影，媒體關注會有很好的效果──因為他們會同時討論電影和電影討論的主題，這其實很重要。 現在的新聞時效都很短，人們很快便忘記了發生過的事情。我認為在這是個非常特別的時間段，而且人們應該從中吸取教訓。葡萄牙人居然并不知道自己一直在向歐洲償還債務，這件事非常奇怪。而且歐債危機的真正當事人，比如說居住在Jamaica或Bela-Vista這種地方的窮人從沒有機會出現在新聞里。你只能看見政治家們在討論數字而已，不管是左派還是右派，他們都一樣的在喝香檳。 《Saint George》其實是一部非常大膽的電影，內容是關于發生在葡萄牙的經濟危機，這是個特別而敏感的時刻。你是從何時決定開始做這個選題的呢？ 當我開始創作《Saint George》這部片子的時候，周圍的人都跟我說拍一個關于當下正在發生事情的電影是很冒險的，因為我們不能有一個準確的觀點，幾年之后事情可能會發生變化，而你也可能會對其有不一樣的看法。 我傾向同意他們的觀點。但是，這是我們歷史上近乎決定性的時刻，我們失去了很多社會福利，很多人失去了他們的工作，一切都在改變。我認為報紙上的新聞和電視總是在談論政治和數字，沒有人關注人民的感受和經濟危機的真實的一面。所以我覺得冒這個險。我之前從未拍過社會議題的電影，這部電影與我之前的作品有很大的不同。對我們這代人來說，這件事非比尋常，它看起來像是人人都同意我們向歐洲支付債務。 這部影片的主演Nuno Lopes拿下了最佳男主角獎，他之前在威尼斯影展上也同樣拿下了最佳男主角。你覺得他的表演有何特別之處，會如此打動人心？ 我認為他在電影中的表演非常有特點。 Nuno是個情感充沛的演員，也是功力頗深的演員。他有著堅韌的個性，就像一個一直在出拳的拳擊手。他不光身體壯碩，內心也很堅韌。人們因此會被他的性格所吸引。 同時，那就像是個對于我們當時所思考之事的隱喻──我們對于即將到來的事情一無所知，正如那個角色，正如身處暗室里與黑暗作斗爭。很多人都問過，我是怎么讓Nuno的演出可以不露一絲表演痕跡的。我的回答是，我也不知道。當我在導演時，我只想讓演員找到所演出角色的強調。但是和Nuno我們已經合作了那么久，一起做調研，一起做采訪 ，所以當表演那一刻來臨時，他其實已經不用想太多了。 在澳門的觀眾和評委會不僅理解而且欣賞您的電影，這是否意味著您的作品本身傳達更多的不分文化差異，大家都能理解的訊息在里面呢？ 我覺得肯定是由這種訊息在里面的。有趣的是，越是本土的故事，其實越能引起普遍共鳴。我認為根本沒有所謂的本土故事。美國文化試圖以全球化、趨同性影響我們，但并不其然。我更希望看到一部講述澳門或中國的被遺忘的社區的電影，勝于一部看起來像是美國大片的中國電影，因為那個沒有普遍性，僅僅是中國或葡萄牙對于美國電影的簡單重復而已。這種電影語言是可以引起普遍共鳴的，只要你知道自己的觀眾在哪里。畢竟我的這部電影講述了一位父親試圖保護家庭完整性，不想失去妻子和兒子的故事，這就是我認為的普世價值。 您的電影已經賣給了中國片方。請問您知道它何時會在中國發行放映嗎？ 我其實不知道它什么時候會在中國發行。我希望它會在院線放映，因為很多時候買家只是買下它出版發行而已。 您的每兩部作品之中都間隔了不短的時間。請問原因是？ 我是花很長時間的人，平均每部電影之間間隔5年吧。于我而言，找到一個合適的題材真的很難。而且有時候在葡萄牙尋找拍片資金也并非易事，也需要花上時間。而當我有了最終的劇本后，在拍攝之前我還需要和演員進行大量的溝通工作。所以確實會花很長時間。而當拍攝結束時，比如這部電影，我花了六個月時間剪片，又花了六個月時間配音配樂，所以時間很長。我有一點點完美主義傾向。 您是否考慮過來澳門拍電影呢？ 我的電影，要么是關于我所熟知的事物，要么是關于我想進一步了解的事物。我更容易選擇那些自己熟悉的題材，所以我基本上都在葡萄牙拍攝。而紀錄片的話，我則更多在國外拍攝，日本，印度或者巴西。我將來一定也會來澳門拍攝。對于我們葡萄牙人而言，澳門充滿了魅力，它就像是一片丟失在歷史長河之中的時間，待你去探索要如何去處理這樣一個題材。而當你覺得一件事物充滿魅力之時，正是你以之為電影的時刻。 轉載請注明出處、微信號(@如果在澳門)以及添加原文鏈接。 Q&A with "Best Director" Marco Martins *This article is firstly appeared on the 2017 January issue of Macau CLOSER magazine How do you feel about receiving these two awards at the first edition of the International Film Festival & Awards Macao? When we do films, we don’t think about awards, you think about the public and who are you addressing the film to. But actually awards can be important, to make your film more visible to a bigger audience, to have media attention. In a film like this, such a political film, media attention is good both ways, because it talks about the film and it talks about the subject of the film, which is really important. Nowadays news is so fast that people tend to forget very easily. And I think this was a very particular time and there’s a lesson there. This thing about Portuguese having to pay a debt to Europe, that nobody knew existed, is really strange. And then the real faces of the crisis, the poor people from places like Jamaica, Bela-Vista - those faces are never in the news. You see politicians talking about numbers. They’re left wing, right wing, but they all drink champagne. Saint Georgeis a risky film in the sense that it's a film about the crisis in Portugal, a very specific and sensitive moment. When did you decide to work with such a topic? When I started writingSaint George, people kept telling me that there’s nothing more dangerous than to write a film about the present, because we don't have perspective, things will seem different in a few years and when you look back you have a different perspective about it. I tend to agree with this, but then for us it was a very decisive moment in our recent history, we lost a lot of social privileges, a lot of people were losing their jobs and everything was changing. I think that news and newspapers and TV tend to talk more about politics and numbers, but they don't see the real faces of the people, the real faces of the crisis. So I took the risk. I never did a social film before; all my films are very different from this one. For our generation, this was something different. It seemed that we had to pay our debt to Europe and everybody was accepting that. One of the awards is for the actor, Nuno Lopes, who also won the same prize in Venice. Why do you think his performance seems to touch everyone so much? I think it’s very unique what he achieved in the film. Nuno is a very emotional actor, a very profound actor, and here he has this tough personality, he’s a boxer who is struggling. You see this big body but with a big heart as well. People are very touched by the character. At the same time it’s like a metaphor of what all of us were thinking at that time – we didn't know exactly what was going on, it was just like a character, it was like a dark room in some way, like fighting with the dark. A lot of people asked me how I got to a point with Nuno where it seems that he is not acting at all. The answer to that is that I really don't know, because when you’re directing you just try for the actors to achieve what you think is the right tuning for that character. And with Nuno, we worked so much together, also in the research period, doing interviews in the neighborhoods, that when it came to the time when he had to act, he really didn’t need to think that much. The fact that audiences and a jury on the other side of the world, Macau, can understand and appreciate your film also shows that there's a more universal message in it, correct? I think there is a universal message, that’s for sure. Ironically, the more local a story is, the more universal it gets. I think there are no local stories. American culture tries to sell us this thing about globalization, and about everything being the same, but it isn’t. I’m more interested in seeing a film about the forgotten society here in Macau or in China, than a Chinese film that looks like an American film, because then it’s not universal, it’s just like a Chinese copy or a Portuguese copy of an American movie. So, this kind of language can be very universal if you find your audience for it. Most of all, the center of the story is a father who wants to keep his family together, he doesn’t want to lose his son and wife, that’s universal I think The rights of your film were sold to China. Do you have any idea of how it is going to be distributed here in China? I don’t know when it’s going to be released in China. I hope it will have a theatrical release, because sometimes they buy it and just distribute it directly on video or something. It seems you take quite a long time between each of your films. Why is that? I takes a very long, it’s basically a film every five years. For me, to find the right subject is very difficult. Then, sometimes in Portugal to finance your projects it’s not easy, you lose a bit of time on that. And then when I have the final script, and before we start shooting, I have to do a lot of work with the actors. So it’s really a long way. And when the shooting finishes, like in this film, I’ve spent six months editing image and six months editing sound, so it’s a long process for me. In that sense I’m a little bit of a perfectionist. Would you ever consider shooting in Macau? My films are always about something that I know very well or that I want to know more about. I tend to choose subjects that are very close to me, that’s why I usually shoot my fictions in Portugal. As far as documentaries, I’ve shot a lot of them abroad, in Japan, in India, in Brazil. And I will shoot in Macau for sure. For us Portuguese, Macau has a bit of a fascination, it’s a bit of history lost in time that you recover, that you don’t know exactly what to do with. It’s really amazing, when you have a fascination for something, it’s great to make a film about it.