by Carrie Rickey

就像“肯尼迪”這個(gè)在美國(guó)政治圈影響力非凡的姓氏，冠上“科波拉”的名號(hào)在電影圈行走，別人會(huì)不自覺(jué)地對(duì)你肅然起敬。索菲婭·科波拉是好萊塢“任人唯親”的受益者。索菲婭早年在父親的電影中皆有出場(chǎng)表演機(jī)會(huì)，那些讓多少人爭(zhēng)得頭破血流的機(jī)會(huì)，她唾手可得。她不缺乏機(jī)會(huì)、貴人、名利和奉承，但她需要真正意義上的認(rèn)可和贊美。所以，她努力過(guò)，嘗試過(guò)，摔倒過(guò)，思考過(guò)，終于，在導(dǎo)演這條路上，她找到了自己一直需要的如魚(yú)得水和刮目相看。她的導(dǎo)演風(fēng)格與父親的恢弘大氣完全不同，她喜歡小情調(diào)、小地方，她熱衷于用女性的細(xì)膩捕捉那些生活中的曲調(diào)和故事，直戳觀眾的心窩。

“二代”并非中國(guó)特色，那種光環(huán)和優(yōu)越感是令所有人艷羨不已的，當(dāng)然，個(gè)中也有酸澀和苦惱，但這些往往為大眾所忽略。如同那些有出息不糜爛的“二代”一樣，索菲婭·科波拉努力在做的正是不玷污“科波拉”這塊“金字招牌”，不辜負(fù)“科波拉”家族對(duì)每一個(gè)家庭成員的期許，兢兢業(yè)業(yè)，力爭(zhēng)向父輩看齊。一個(gè)家族的強(qiáng)盛和繁衍要求這樣的“二代”、“三代”從小就擁有家族自豪感和使命感，唯有熱愛(ài)自己的家族與事業(yè)，他們才能維護(hù)和超越前人樹(shù)立的豐碑。

——Mac

Some show business folk claim to be born in a trunk. Sofia Coppola was 1）baptized on a movie set： she is the infant christened in the 2）penultimate sequence of The Godfather （1972）， directed by her father Francis Ford Coppola. Over the past 14 years， she has delivered two daughters of her own， as well as five feature films that have won acclaim； including a DGA and Oscar nomination for directing Lost in Translation； for her 3）nuanced portraits of teenagers and young adults losing and finding themselves.

Coppolas academic training is in photography. It took roughly a decade for her to evolve organically from still pictures to moving ones. Her latest film， The Bling Ring， follows the 4）nocturnal adventures of starstruck L.A. teens that steal into the homes， and closets， of celebs such as Paris Hilton and Lindsay Lohan. Based on “The Suspects Wore 5）Louboutins，” an improbable-but-true tale published in Vanity Fair， it looks 6）askance at these fashion felons who walk， quite literally， in the （stolen） shoes of their style idols.

有些娛樂(lè)明星聲稱(chēng)自己出身于演藝世家。索菲婭·科波拉就是在一個(gè)電影場(chǎng)景里面接受洗禮的：她就是那個(gè)在電影《教父》（1972年）的倒數(shù)第二幕中接受洗禮的嬰孩，而執(zhí)導(dǎo)這部電影的正是她的父親弗朗西斯·福特·科波拉。在過(guò)去的十四年中，她生了兩個(gè)女兒，導(dǎo)演了五部電影故事片，并且因其細(xì)膩地描繪了青少年和年輕人迷失與尋找自我的過(guò)程而贏得不少贊譽(yù)，其中包括美國(guó)導(dǎo)演工會(huì)和奧斯卡最佳導(dǎo)演提名（電影《迷失東京》）。

科波拉的正規(guī)訓(xùn)練是從攝影開(kāi)始的。從靜態(tài)攝影過(guò)渡到動(dòng)態(tài)電影拍攝，她用了差不多十年時(shí)間。她最新的電影作品——《珠光寶氣》，講述的是洛杉磯一幫追星青少年的午夜冒險(xiǎn)之旅——潛入帕麗斯·希爾頓和林賽·羅韓等一眾名人家中，從衣櫥里偷東西。該電影是以刊登在《名利場(chǎng)》上的一篇文章——《好萊塢盜竊案》為藍(lán)本拍攝，這個(gè)故事看上去匪夷所思，但卻真有其事。影片用質(zhì)疑的眼光看待那些大街上衣著時(shí)尚的罪犯，他們腳上穿的鞋子其實(shí)就是從潮流偶像那里偷來(lái)的。

“I thought it was such an interesting story and the quotes from the real kids really made an impression，” Coppola says， reflecting on her reaction to the story. “I thought the story said so much about our culture today and how it can affect young people.”

Mastering the small canvas rather than the big screen was Coppolas original goal. As a teenager she set her sights on becoming an artist. In the 1990s， she enrolled at the California Institute of the Arts （CalArts）. “I wanted to be a painter，” she recalls over tea at a West Village cafe near her Manhattan 7）digs.“They told me I wasnt.”When she transferred to the Art Center College of Design， her photography instructor， Paul Jasmin， was more encouraging. “He told me my point of view was worth exploring.”

8）In any event， by the time Coppola enrolled at the Art Center she had already earned a doctoral 9）equivalency. “I didnt realize it at the time，”reflects the filmmaker， 42， poised and watchful. When it comes to the language of film， Coppola says， she was home schooled.

“我當(dāng)時(shí)覺(jué)得這個(gè)故事很有意思，而那些犯錯(cuò)孩子的自白給我留下了深刻的印象，”科波拉說(shuō)道，回想起自己當(dāng)時(shí)對(duì)這個(gè)故事的反應(yīng)?！拔矣X(jué)得這個(gè)故事深入探討了我們現(xiàn)今的文化，以及這種文化如何影響年青一代?！?/p>

在小小的帆布上大展身手，而不是大屏幕，這是科波拉最初的目標(biāo)。早在青少年時(shí)期，她就立志成為一名藝術(shù)家。在上世紀(jì)九十年代，她在加利福尼亞藝術(shù)學(xué)院就讀?！拔耶?dāng)時(shí)想成為一名畫(huà)家?！彼谧约郝D寓所附近的西村咖啡店喝著茶回憶自己的過(guò)往?！八麄兏嬖V我不行?！碑?dāng)她轉(zhuǎn)學(xué)到設(shè)計(jì)藝術(shù)中心學(xué)院的時(shí)候，她的攝影指導(dǎo)老師保羅·杰斯明，卻不潑她冷水?！八嬖V我，我的觀點(diǎn)值得挖掘?！?/p>

不管如何，在科波拉就讀于藝術(shù)中心之前，她已經(jīng)取得了一個(gè)相當(dāng)于博士學(xué)位的資格?！拔耶?dāng)時(shí)還沒(méi)有意識(shí)到這點(diǎn)，”這位現(xiàn)年42歲的電影制作人回憶著過(guò)去，從容而謹(jǐn)慎。當(dāng)說(shuō)到電影語(yǔ)言，科波拉說(shuō)，自己是自學(xué)成才的。

“Dad always included us，” she said， referring to herself and brother Roman， also a director. “We were always talking about and looking at film. I didnt even realize I was learning.” Although 10）oblivious to much of her cinematic home schooling while it was happening， Coppola now acknowledges how decisively it has influenced her choices in preproduction， on set， and in post.

“爸爸總是讓我們參與其中，”她說(shuō)道，“我們”指的是她自己和同為導(dǎo)演的哥哥羅曼。“我們以前總是聊電影和看電影。我都不知道自己當(dāng)時(shí)就是在學(xué)習(xí)?！北M管對(duì)于自己當(dāng)時(shí)的家庭式電影教學(xué)懵懂不知，科波拉現(xiàn)在卻認(rèn)識(shí)到這些家庭教育對(duì)自己影片的前期制作、現(xiàn)場(chǎng)以及后期都有著決定性影響。

Still， there are significant stylistic differences between father and daughter. Where the elder Coppola is attracted to larger-than-life characters， employing tracking shots for epic scope and sweep， the younger works on a more intimate scale. Her 11）mantra is “l(fā)ess formality.” From Coppolas preference for a handheld camera that gets into her subjects personal space to her 12）painstaking use of 13）ambient sounds to create a you-are-there experience， “its about getting close and closer to the character.”

To create her signature shot， shadowing a character from behind， she likes to use a handheld camera or a dolly shot. Whether her camera stalks Scarlett Johansson exploring a Buddhist temple in Kyoto in Lost in Translation （2003） or Kirsten Dunst entering Versailles in Marie Antoinette（2006） or Emma Watson， teenage celebrity stalker in The Bling Ring， Coppola gentles you into their drifts and their dreams.

Coppola says she casts less for looks than for 14）simpatico. “I feel like there has to be a connection， you have to find the same things funny. That way， youre on the same channel and youll be able to communicate more effectively.”

當(dāng)然，父女之間還是有著明顯的風(fēng)格差異。老科波拉對(duì)傳奇人物形象情有獨(dú)鐘，喜歡用長(zhǎng)鏡頭打造恢宏影像，小科波拉則喜歡著眼細(xì)處。她的行事原則是“少一點(diǎn)形式主義”。從科波拉對(duì)手持?jǐn)z像機(jī)的偏愛(ài)——這樣可以進(jìn)入人物的內(nèi)心世界，到其小心謹(jǐn)慎采用環(huán)境聲效來(lái)營(yíng)造一種“你在現(xiàn)場(chǎng)”的體驗(yàn)，“這都是為了更加進(jìn)一步接近人物的內(nèi)心?！?/p>

為了打造她的標(biāo)志性鏡頭，從背后追隨角色，她喜歡采用手持?jǐn)z像機(jī)或是移動(dòng)式攝影車(chē)。無(wú)論是在2003年的《迷失東京》中她的鏡頭追隨著斯嘉麗·約翰遜探索京都佛寺，還是在2006年《絕代艷后》中克爾斯頓·鄧斯特進(jìn)入凡爾賽宮，又或是艾瑪·沃特森這個(gè)《珠光寶氣》里面的追星族，科波拉都循循誘導(dǎo)你進(jìn)入人物內(nèi)心，感受她們的際遇以及夢(mèng)想。

科波拉說(shuō)自己選角看重的是志趣相投，而不是外貌形象?！拔矣X(jué)得要有一種共鳴感，必須對(duì)同樣的事物感覺(jué)有趣。這樣，你們能志同道合，可以更有效地溝通。”

From the start， all of Coppolas films have been image rather than dialogue intensive. “I dont want my movies to feel like movies，”she says. “I want them to feel like life.” If theres less smart talk than small talk in her films， its because she believes thats how life is. “People dont really express themselves that articulately in real life.” And to get more of that in the moment feel， she encourages 15）improvisation from her actors.

“Remember Scarlett perched in the 16）window ledge in Lost in Translation， looking out over Tokyo？” she asks. “You project your feelings on her. Thats what Im going for. I want the visual ways to tell the story rather than have the characters talk.”Whats unsaid speaks volumes.

From her father， Coppola learned that “a movie is never as bad as the first rough cut.”Still， the rough of The Virgin Suicides crushed her. Fortunately， she had sound designer Beggs on board as well as Reitzell， onetime drummer of Redd Kross. “You find the rhythm in the edit.” For her， the films pace is almost always guided by the movement inside the frame and by the tempo of the soundtrack， which in The Bling Ring is louder， and in Coppolas description， “more 17）obnoxious”than the dreamy music in most of her films.

從第一部電影開(kāi)始，科波拉的所有電影就注重影像，而非對(duì)話(huà)?！拔也幌胛业碾娪翱瓷先ハ耠娪?，”她說(shuō)，“我希望電影看上去像生活?！比绻f(shuō)在她的電影中警言雋語(yǔ)少，閑言碎語(yǔ)也不多，那是因?yàn)樗嘈派罹蛻?yīng)該是這樣的?！霸诂F(xiàn)實(shí)生活中人們其實(shí)不是那么能言善表。”為了得到更多那種“當(dāng)下”的感覺(jué)，她鼓勵(lì)自己的演員即興表演。

“記得斯嘉麗在《迷失東京》中坐在窗臺(tái)上，俯看整個(gè)東京那一幕嗎？”她問(wèn)?！澳惆炎约旱南敕ㄍ渡湓谒纳砩稀Ｄ蔷褪俏乙恢弊非蟮?。我希望用影像的方式來(lái)講故事，而非通過(guò)人物對(duì)話(huà)?！贝藭r(shí)無(wú)聲勝有聲。

從她父親那里，科波拉了解到“一部電影在初剪后實(shí)在是慘不忍睹”。但是，《處女之死》的初剪片還是讓她痛苦難堪。幸運(yùn)的是，她身邊有聲音設(shè)計(jì)師貝格斯以及雷德·克洛斯的臨時(shí)鼓手雷澤賽爾支持她?！澳阍诩艚拥倪^(guò)程中找到了節(jié)奏?！睂?duì)她來(lái)說(shuō)，一部電影的節(jié)奏幾乎總是由電影里面的情節(jié)以及原聲音樂(lè)的拍子來(lái)主導(dǎo)的，而這點(diǎn)在《珠光寶氣》中更為明顯，用科波拉自己的話(huà)說(shuō)就是，比起她大部分電影里面的美妙原聲，這顯得“更討嫌”。

Like her father， Coppola plays music on the set， frequently the same cuts she listened to while writing the screenplay. She thinks it helps establish mood. She favors actual locations over shooting studio sets because a location； Tokyo in Lost in Translation， Versailles in Marie Antoinette， Hollywood and Milan in Somewhere， Los Angeles in The Bling Ring； has an energy and authenticity that cant be replicated in a studio. “I like a small crew，” she says. “I like to keep it as lean and simple as possible.”

Coppola made The Bling Ring on a still-modest$20 million budget. Lost in Translation， her biggest hit to date， cost only $4 million to make （and grossed $120 million worldwide）. Except for Marie Antoinette， which had a $40 million budget and an 18）arduous 12 week shoot mostly in France， Coppola prefers to keep things smaller and more intimate.

Having completed her fifth feature， Coppola says she feels at home in what she perceives as her 19）niche； character-driven films mapping the moves of people lost in transition. “I dont make the kind of movies that lend themselves to wide releases，” she concludes.

跟她父親一樣，科波拉會(huì)在拍攝場(chǎng)景中播放音樂(lè)，常常在同一幕中播放她在撰寫(xiě)劇本時(shí)聽(tīng)的音樂(lè)。她認(rèn)為這樣有助于建立情緒氛圍。她喜愛(ài)實(shí)地取景多于攝影棚拍攝，因?yàn)橥饩芭臄z場(chǎng)地——《迷失東京》里的東京，《絕代艷后》中的凡爾賽宮，《在某處》中的好萊塢和米蘭，以及《珠光寶氣》中的洛杉磯——擁有一種攝影棚里無(wú)法復(fù)制的活力和真實(shí)感?！拔蚁矚g小型的工作組，”她說(shuō)道。“我喜歡盡量精簡(jiǎn)?！?/p>

科波拉拍攝的《珠光寶氣》依然是低成本制作，只用了兩千萬(wàn)美元?！睹允|京》——到目前為止她最為成功的作品，只花了四百萬(wàn)美元，全球票房總收入?yún)s達(dá)到了1.2億美元。除了《絕代艷后》這部電影預(yù)算四千萬(wàn)美元，耗時(shí)12周，主要在法國(guó)拍攝之外，科波拉更鐘情于小制作，著眼于私密情感上。

完成了自己的第五部電影之后，科波拉說(shuō)她感覺(jué)很自在，就好像游刃于她自稱(chēng)的“專(zhuān)屬領(lǐng)地”之中。這些以人物為主導(dǎo)的電影記錄著在生活轉(zhuǎn)變過(guò)程中的迷失者的一舉一動(dòng)。“我不是拍什么主流大片的人?！彼偨Y(jié)道。