【阿米&访谈】20121219 Express Adda 阿米的对谈摘要

Actor, producer & activist
The responsibility of a creative person is not just to entertain or engage the audience, but also to bring grace to society, build the social fabric and inculcate values in people. A creative person - whether in painting, poetry, acting or dance - brings all this to society. He makes people ponder over issues and makes them
more sensitive towards them.

演员、制片人与社会运动家
创作家的责任绝对不是只有娱乐或魅惑观众，还必须要为社会带来一些良善的效益，协助建构社会结构与意识，以及教化人心。无论这个创作者是画家、诗人、演员或是舞者－这些创作者都身负如此的天职。这些人可以激发人们反思切身相关的议题，并进而增进对这些议题的敏感程度。

The Fear of failure
I love my work very much and every time I take on an endeavour, I have to live with the fear of it going wrong or failing. But this fear keeps me alert; it keeps me going. And I don't allow it to change my bold decisions. It's a thin line. Fear can be useful but too much of it can upset the apple cart.

对失败的恐惧
我非常热爱我的工作，夙夜匪懈，并随时心怀对失败的恐惧感。这种如履薄冰的恐惧感可以使我保持警惕并持续前进。但我不会允许因为恐惧感而改变或妥协我的重大决定。任何事情都是过犹不及，适量的对失败的恐惧是非常有助益的，但当这恐惧感太多的时候，可是会把事情给搞砸的。
Kiran, the influence
Kiran (Rao, wife) has contributed a huge deal to me - to my personality and to my very fabric. I am much more relaxed ever since she has come into my life. But she hasn't affected my choice of films. Often she hasn't liked what I've selected, but changes her mind once she watches the film. For instance, she didn't like the script of Rang De Basanti, although she liked the film later.
姬兰对阿米的影响
姬兰对我而言，在我个人与家庭生活方面，拥有不可磨灭的巨大贡献。自从她走进我的人生之后，我过得比以前轻松自在的多。只不过在我选择片子的取向上，她还是无法影响我的决定，她也因此时常不苟同我的选择，像之前她满喜欢《芭萨提的颜色》成片之后的效果，但在选剧本的阶段时，她不是很喜欢这个脚本。

Disconnect with the masses
For 3 Idiots, we wanted to start promotions in Mughalsarai (Uttar Pradesh) as maximum number of trains pass through it. But we got to know that the local population in many parts of India is not watching our films. They are not interested in Hindi films because those don't match their taste. They have moved on to other kinds of cinema, such as Bhojpuri cinema. Our country is vast, with many kinds of people.
印地语电影在某些地域难以突破
为了三个傻瓜的宣传，我们从印度的北方邦开始我们的电影宣传活动，而且尽我们所能地深入各地到处宣传。但回归现实，我们也知道很多地区的朋友们其实是不太可能看我们的电影，因为印地语的电影风格不太合他们的胃口，所以日积月累下来他们也就不太看印地语的电影，形成了有如Bhojpuri电影之类的其他类型的电影(博吉普尔语是印地语的一种方言，有二千五百万人讲这种方言，他们分布在比哈尔邦西部、查坎德邦部分地区和乌塔尔邦东部)。我们的国土疆域太辽阔了，什麼样的人都有。

Media criticism
When we were doing Satyamev Jayate, we expected that the media would be very supportive because we were doing what the media has been doing for years - reporting about social issues and problems. We also expected people from the administration and political class to be wary of us. But exactly the opposite happened. My point is that we were building on what media has done.
媒体应该做什麼
当我们正在进行「真相访谈」这个节目的时候，我们预期大众媒体应该会表示支持，因为我们在做的事情理应是媒体已经行之有年的事情－报导关於社会的议题与问题。我们也预期政府当局与政府官员们应该会堤防我们。只可惜事与愿违．．．我的想法与立场是，我们当初所在做的事情，其实就是媒体本就应当做的本分。
The 'marketing guru' tag
I have believed that the creative team making a film should also take financial responsibility for it. It's my job to make sure people investing in my film get their money back and earn something out of it. That doesn't mean I am compromising on my choice of work. But I am not the marketing guru that I am made out to be. If you are excited about telling a story, you'll grab everyone's attention. For me, reaching out to people is marketing. What I need to do for that comes organically.

行销大师的头衔
我一直坚信也坚持拍摄团队在制片时，也必须负起电影的财务责任；我的工作就是确保投资我的影片的股东们，可以回收他们的投资，并且还可以多回收一些钱，而这不表示我会折衷妥协我的选片口味与拍片方式。其实我做的事情其实不是一般行销大师会采用的方式，假如你非常喜欢讲故事，就会抓住每个人的注意力，而对我来说，这就是行销，但基本上也是我的工作的本质。
Tears on camera
In Satyamev Jayate, people saw me for the first time as myself. All the people who know me can say that it is normal for me to cry. And often, while crying, I wipe my tears and continue with the discussion. On television, I try to control it but there have been instances where we had to stop shooting because I just would not stop crying.

镜头前的泪水
在「真相访谈」，人们将是第一次在小萤幕上看到真正的阿米尔汗。所有认识我的人或是知情的人都可以证明，在节目中哭得唏哩哗啦的我不是在做戏，那是我个人的真情流露的表现。在节目中，我时常一边哭、一边拭泪、一边持续地进行节目中的对话。在节目中，我有试著控制自己的情绪，但在情绪的当下还是难以克制，所以录影时有时会因为我哭个不停而暂时中断。

Socially relevant cinema
I choose a movie if I fall in love with it. If I look at it from a logical or marketing point of view, then it's a very unwise thing to do because I am making a film on a learning disability with a child as the lead actor. But once I have decided that a film has to be made, no matter what, I try to make it economically viable. When people talk about the film, it sells tickets and becomes commercial.
关注社会的电影
其实我挑片都是挑我喜欢的。如果以逻辑上或电影市场的角度来看，我拍个以学习障碍的小孩当主角的电影，是非常不明智，但一旦我决定要制片之后，无论如何，我都会尽我所能地提高影片的经济效益与可行性。我认为，当人们开始谈论这部影片，就会带来票房，也就提高了影片的商业价值。

Bollywood's dynamics
Film industries across the world are star-driven because it's a business of such heavy investment. The reality is that the market moves towards safer options. The market would want me to do a Dilwale Dulhaniya Le Jayenge but every time I do
a Taare Zameen Par or Lagaan, the market looks at me with suspicion. I am a star, but even I've had to fight the suspicion about almost every film I've done.
宝莱坞的产业动态
全世界每个地方的影视产业，基本上主要大多以靠明星驱动整个产业，因为在这个产业里，每一笔投资都是高度资本集中的大投资，因此在现实中，这个产业特性会驱动投资方选择看似比较安全有保障的选项。宝莱坞的电影市场会希望我去拍类似《勇夺芳心》(1995年沙沙与卡卓尔的作品)之类的主流电影，但我常常搞类似像《地球上的小星星》或《印度往事》之类的怪片，电影市场也投以狐疑的眼光看待我的这些作品。所以即使我确实是个电影明星，但几乎我的每一部作品，都必须要接受市场的质疑眼光的挑战。

Formal education not a must
Most of my education has been informal. I don't have a graduate degree. Education is very important but not necessarily in the formal sense of the word. However, gathering knowledge and experience, and getting that understanding is very important.
正规教育不是必须的
对我而言，我个人大多的学习经历来自於非正规的教育经验，我没有研究所的学位。教育无疑是非常重要的，但是否必须一定要局限於正规的教育体系之中?是否一定要拘泥於得取得学位证书?个人认为未必如此。无论如何，累积知识与经验，并且加以融会贯通之，才是真正重要的事情。

The business of Awards
I may not have attended the big televised awards ceremonies in the last 18-20 years, but I have attended and accepted other awards. For instance, I accepted an award from the Dinanath Mangeshkar Foundation and also the Gollapudi Srinivas Award in Chennai. A young man, Gollapudi Srinivas, was making his first film and died on the ninth day of the shoot. His family initiated this award to encourage first-time directors. I won it for Taare Zameen Par and K Balachander was
the chief guest. I felt very special on that day.
I went to the Oscars because I value the Academy Awards. My interest was not to be told by the Academy that I made a great film - that is something my audience has already told me by then.Once a film gets nominated for an Oscar, an entirely new audience gets to see it.
电影产业的奖项
我缺席大型电视转播的颁奖典礼大概有18到20年左右，但我还是有出席并接受其他类型的奖项。我有出席接受Dinanath Mangeshkar Award和在金奈的Gollapudi Srinivas Award。Gollapudi Srinivas是位年轻的导演，逝世於他首次拍片拍摄的第九天，他的家族因此成立了这个奖项，希望可以藉此鼓励首次拍片的新血导演们。我是因为《地球上的小星星》而获奖，而且巴强还是主宾，那天真是我人生中非常特别的一天。
我曾经去过奥斯卡是因为我很看重奥斯卡奖，但不是想藉由得这个奖，让自己感觉作品很优秀，作品优秀与否，是由观众的反应与回馈显示出来的，我只是在想，一旦作品有机会提名或入围奥斯卡，就可以拓展观众来源，提高片子在世界各地的能见度，让更多朋友可以看到这个作品。
http://www.bollywoodhungama.com/celebrities/features/type/view/id/4368

我的度娘阿，后面的排版怎麼字都变成粗体的，真的是快被你打败了

谢谢翻译和分享啊！

小燕子辛苦！好福利，好贴当顶.阿米尔的口才真不是盖的

感谢分享！

棒