话说墨镜那些不见天日的菲林啊,是不是真的给水淹了？？
迟些时候，可能（是可能）可以见到墨镜本尊，如果（是如果）有机会问问题，是否该问问胶片的去向？？？
@梨语微凉 说墨镜应该不会说真话。
如果能见到老杜(暂时没可能)，问问他，说不定他会说真话。。。?
迟些时候，可能（是可能）可以见到墨镜本尊，如果（是如果）有机会问问题，是否该问问胶片的去向？？？
@梨语微凉 说墨镜应该不会说真话。
如果能见到老杜(暂时没可能)，问问他，说不定他会说真话。。。?
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接下来这段F＆F里也没有，不知原来顺序是怎样的，不过在在聚荣堂的版本放在王家卫那段"一流黑社会，九流会计师"那段之后:
August ending like a “wish you were here” postcard 8月像"寄托思念"明信片一样结束了
（幽梦：Wish you were here就是"希望你也在这",直译后放上面的题目里好像很怪。其实这句跟"秋天该很好，你若尚在场"的意思差不多。所以暂且翻成"寄托思念"。）
We see rushes of my “empty shots” (or whatever they’re called in English). Wong is excited: “we can make a Milonga of the city alone with itself” … whatever that means. All I see are empty bridges, empty boats, empty skies, empty everything. A postcard vision of a shady port town! And I still don’t know a thing about Tango … Just wish I could be even close-to-Gordon-Willis-poetic, and find the real “music” of this place.
我们放“空镜”的毛片来看。王（家卫）很兴奋：“我们可以把（这）做成这个城市的Milonga（拉丁舞）独舞。”...不管那是什么意思。我只看到空的桥、空的船、空的天、空的一切。明信片式的阴暗港城！我对探戈还是一无所知…只希望能够有点接近戈登·威利斯（Gordon Willis） 的诗意，找到这地方真正的“音乐”。
August ending like a “wish you were here” postcard 8月像"寄托思念"明信片一样结束了
（幽梦：Wish you were here就是"希望你也在这",直译后放上面的题目里好像很怪。其实这句跟"秋天该很好，你若尚在场"的意思差不多。所以暂且翻成"寄托思念"。）
We see rushes of my “empty shots” (or whatever they’re called in English). Wong is excited: “we can make a Milonga of the city alone with itself” … whatever that means. All I see are empty bridges, empty boats, empty skies, empty everything. A postcard vision of a shady port town! And I still don’t know a thing about Tango … Just wish I could be even close-to-Gordon-Willis-poetic, and find the real “music” of this place.
我们放“空镜”的毛片来看。王（家卫）很兴奋：“我们可以把（这）做成这个城市的Milonga（拉丁舞）独舞。”...不管那是什么意思。我只看到空的桥、空的船、空的天、空的一切。明信片式的阴暗港城！我对探戈还是一无所知…只希望能够有点接近戈登·威利斯（Gordon Willis） 的诗意，找到这地方真正的“音乐”。
接下来这段F＆F里也没有，在在聚荣堂的版本放在"明信片"那段之后:王家卫牙痛（前面翻译过了）那段之前
Wallpaper
墙纸
We shoot wallpaper patterns not for nothing to do but as a “symbolic reference”to the personalities of our characters. The floral lotus pattern is Leslie: colorful, exuberant. The black like pattern … Repetitive, enclosed upon itself, unrelenting - is a hint of what Tony’s character is about.
我们拍摄墙纸图案不是因为无事可做,而是作为对人物性格“象征性的提点”。莲花图案是Leslie：色彩鲜艳，活力充沛。黑花纹暗示著Tony角色的性格:重复，自我封闭，不屈不挠。
Wallpaper
墙纸
We shoot wallpaper patterns not for nothing to do but as a “symbolic reference”to the personalities of our characters. The floral lotus pattern is Leslie: colorful, exuberant. The black like pattern … Repetitive, enclosed upon itself, unrelenting - is a hint of what Tony’s character is about.
我们拍摄墙纸图案不是因为无事可做,而是作为对人物性格“象征性的提点”。莲花图案是Leslie：色彩鲜艳，活力充沛。黑花纹暗示著Tony角色的性格:重复，自我封闭，不屈不挠。
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接下来要多谢前辈大神告知这里所有内容都是节选自杜可风在阿根廷的日记「buenos aires飞行记」。看200楼前辈的解释。
并且还不辞劳苦的翻译了手记中关于哥哥的内容，翻译的质量很高。这样一来就减少了不少工作量。
后面有哥哥的内容都会主要借用Nico7e前辈的翻译，然后在其基础上作少量的修改（如果有美中不足或词句可以斟酌的地方会适当改）。原贴在这：【梦里春光知多少】《布宜诺斯艾利斯·飞行记》——about Leslie （http://tieba.baidu.com/p/827401147）
Thanks，thanks，thanks，thanks，@nico7e ！
并且还不辞劳苦的翻译了手记中关于哥哥的内容，翻译的质量很高。这样一来就减少了不少工作量。
后面有哥哥的内容都会主要借用Nico7e前辈的翻译，然后在其基础上作少量的修改（如果有美中不足或词句可以斟酌的地方会适当改）。原贴在这：【梦里春光知多少】《布宜诺斯艾利斯·飞行记》——about Leslie （http://tieba.baidu.com/p/827401147）
Thanks，thanks，thanks，thanks，@nico7e ！
F&F的版
My Gaffer Love My Focus-puller
我的灯光师爱我的调焦师
Wong has appropriated the names of my crew members for Tony and Leslie'scharacters. We end another love-hotel sequence with a close-up of their namescut into a heart shape in the wooden wall: 'Po-Wing loves Yiu-Fai forever'. Myfocus puller loves my gaffer, and we never even guessed!
王（家卫）把我的（两个）助理的名字拨给了Tony和Leslie的角色。木墙上的心形里刻着“宝荣永爱耀辉”。我们把他们名字的特写作为另一组情侣酒店戏的结尾。（幽梦：好吧老杜死不断气，把那么多的修饰挤到一句话里。原谅我一时想不到怎样才能一口气说完。。。暂时分两句说。。。）我的灯光师爱我的调焦师，我们绝对猜不到！
My Gaffer Love My Focus-puller
我的灯光师爱我的调焦师
Wong has appropriated the names of my crew members for Tony and Leslie'scharacters. We end another love-hotel sequence with a close-up of their namescut into a heart shape in the wooden wall: 'Po-Wing loves Yiu-Fai forever'. Myfocus puller loves my gaffer, and we never even guessed!
王（家卫）把我的（两个）助理的名字拨给了Tony和Leslie的角色。木墙上的心形里刻着“宝荣永爱耀辉”。我们把他们名字的特写作为另一组情侣酒店戏的结尾。（幽梦：好吧老杜死不断气，把那么多的修饰挤到一句话里。原谅我一时想不到怎样才能一口气说完。。。暂时分两句说。。。）我的灯光师爱我的调焦师，我们绝对猜不到！
下面也是F&F里没有的在《飞行手记》里。
【Horse race】
赛马
The races didn’t wash out like they looked like they would this morning, but the attendance is minimal and half the horses don’t even start. I succeed
in ‘stealing’ most of the shots we were hoping for. Leslie’s playful and content enough to try a scene-stealing gesture or two. We indulge him for a while, and then
just crop him out of frame when he gets too much.
赛马那场戏洗出来的效果跟早上预计的效果不尽相同，但是本来观众就少，半数的马根本没跑。我成功地“偷”到我们希望的大部分镜头。Leslie活泼顽皮，怡然自得，尝试了一两个抢镜头的动作。我们任由他玩了一阵，如果太过了只需把他的部分剪掉。
【Horse race】
赛马
The races didn’t wash out like they looked like they would this morning, but the attendance is minimal and half the horses don’t even start. I succeed
in ‘stealing’ most of the shots we were hoping for. Leslie’s playful and content enough to try a scene-stealing gesture or two. We indulge him for a while, and then
just crop him out of frame when he gets too much.
赛马那场戏洗出来的效果跟早上预计的效果不尽相同，但是本来观众就少，半数的马根本没跑。我成功地“偷”到我们希望的大部分镜头。Leslie活泼顽皮，怡然自得，尝试了一两个抢镜头的动作。我们任由他玩了一阵，如果太过了只需把他的部分剪掉。
回到F&F版：
Space
空间
We came to Argentina to 'defamiliarize' ourselves by moving away from the spaces - and hopefully the preoccupations - of the world we know so well. But we're out of our space and depth here. We don't even know the city well. So why do we still tend toward bars, barber shops, fast-food joints and trains? What happened to the inspirations from Manuel Puig's structures and Julio Cortazar's conceits? We're stuck with our own concerns and perceptions. If it's true that every artist basically has only one thing to say, then... we'd better do our best to say it more eloquently this time!
我们来到阿根廷是想通过远离熟悉的空间让自己“陌生化” – 也希望远离固有的成见。但是现在我们却迷失了（幽梦：“out of depth”的说法是有的，“out of our space”嘛，老杜又在造词，玩文字游戏了）。我们甚至不太了解这个城市。那么，为什么我们仍旧被酒吧，理发店，快餐店和火车吸引？ Manuel Puig的结构激发出的灵感怎么了？Julio Cortazar的妙喻激发出的灵感怎么了？我们无法摆脱自己的忧虑和观念。如果每一个艺术家真的只有一句话要说，那么...我们这次最好尽力把它说得更动人！
Space
空间
We came to Argentina to 'defamiliarize' ourselves by moving away from the spaces - and hopefully the preoccupations - of the world we know so well. But we're out of our space and depth here. We don't even know the city well. So why do we still tend toward bars, barber shops, fast-food joints and trains? What happened to the inspirations from Manuel Puig's structures and Julio Cortazar's conceits? We're stuck with our own concerns and perceptions. If it's true that every artist basically has only one thing to say, then... we'd better do our best to say it more eloquently this time!
我们来到阿根廷是想通过远离熟悉的空间让自己“陌生化” – 也希望远离固有的成见。但是现在我们却迷失了（幽梦：“out of depth”的说法是有的，“out of our space”嘛，老杜又在造词，玩文字游戏了）。我们甚至不太了解这个城市。那么，为什么我们仍旧被酒吧，理发店，快餐店和火车吸引？ Manuel Puig的结构激发出的灵感怎么了？Julio Cortazar的妙喻激发出的灵感怎么了？我们无法摆脱自己的忧虑和观念。如果每一个艺术家真的只有一句话要说，那么...我们这次最好尽力把它说得更动人！
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Jazz
爵士乐
If only film was jazz, if only we could 'jam'.... We get closer to this with each film; my camera becomes more and more of a musical instrument. ON and off, different film speeds, frame changes in shot... these are my key and register shifts. I riff, you solo, we jam towards a free form that we believe a film can be.
如果电影是爵士乐就好了，如果我们是乐队就好了....我们每拍一部电影就离这（状态）更近，我的摄相机越来越像一件乐器。 “开”和“关”，不同的胶片感光度，镜头中变化的画面...这些是我的曲调和音色变化。我即兴，你独奏，我们向信念中电影可以达到的自由形式靠近。（幽梦：老杜用的这些音乐和电影的术语我尽力翻了，虽然懂一点点乐理，但是不能保证所有的术语都完全准确。）
爵士乐
If only film was jazz, if only we could 'jam'.... We get closer to this with each film; my camera becomes more and more of a musical instrument. ON and off, different film speeds, frame changes in shot... these are my key and register shifts. I riff, you solo, we jam towards a free form that we believe a film can be.
如果电影是爵士乐就好了，如果我们是乐队就好了....我们每拍一部电影就离这（状态）更近，我的摄相机越来越像一件乐器。 “开”和“关”，不同的胶片感光度，镜头中变化的画面...这些是我的曲调和音色变化。我即兴，你独奏，我们向信念中电影可以达到的自由形式靠近。（幽梦：老杜用的这些音乐和电影的术语我尽力翻了，虽然懂一点点乐理，但是不能保证所有的术语都完全准确。）
