感谢豆瓣对《废话燃料》播客节目的推荐支持，欢迎大家来到豆瓣收听第18届FIRST青年影展相关节目。 我跟@忠泽 录制戛纳电影节前线日记最后一天内容的时候，就有聊到他对今年FIRST的一些规划，只不过那时尚未尘埃落定，只能暂时按下不表。而如今第18届FIRST青年影展落幕，我们也可以兴奋地宣布，入围训练营剪辑岗的忠泽顺利“毕业”，交出了他认可“职业生涯迄今为止剪出最棒的作品”。 本期节目抽丝剥茧地把FIRST训练营从参与选拔到作品公映的整个流程分享出来，极限创作，包括与本届训练营导师娄烨共事的感受，或许是大家目前能听到关于训练营信息最全面的播客节目了。当然，我们也不光局限于此，顺道也探讨了关于FIRST今年从缺的大奖的观点。 希望未来能在更多更大的舞台上看到忠泽作为创作者出现的身影 本期嘉宾：忠泽，第18届FIRST影展训练营短片《诗》剪辑、播客节目《走出森林》主播 1:11 在戛纳媒体中心面试FIRST训练营 2:27 怎样理解FIRST训练营，它是个啥东西 2:49 发展的几个重要节点 4:31 忠泽跟训练营的渊源 8:44 什么样的人能入选训练营？ 10:04 每个工种报名时所需要的不同材料 17:35 分组的原则和步骤 20:26 面试选拔经验的分享 26:11 官宣之后，前期筹备工作就开始了 31:11 集结开营后，七个剧组分两拨开机 33:35 每部短片FIRST提供的制作费用大起底 36:07 进入后期，两轮拍摄的时间状况不同 38:36 描述工作状态 40:33 关于此次拍摄的《诗》的评论和创作心得 49:47 时间不够，全部延期 54:00 颁奖？ 58:20 FIRST是怎么处理这些训练营作品的？哪能看到？ 1:04:55 作为主创参与训练营的收获 1:11:59 跟娄烨一起工作是什么感受？ 1:13:36 跟去年导师陈哲艺风格的对比 1:17:17 存在的问题 1:22:35 操作上的优化 1:26:36 关于“训练营”这种创作方式价值的探讨 1:28:20 关于本届FIRST最大奖——“最佳剧情长片”从缺的讨论 1:41:37 独特性的消解：当我们在FIRST也不能撒野的时候 1:45:31 忠泽未来的计划和感慨 《废话燃料》首个听友群正式上线啦！计划在常规的播客节目推送以外，尽可能多搞一些社群内专属的互动活动和大家一起玩儿～现在进群的uu都是《废话燃料》第一轮精神股东哦

今年的国产院线暑期档进程依旧过半，在连续几周的接连观影后，我们不难发现一个显著特征：清一色的男性导演，构建男性神话。 本期节目，我会从暑期档比较有代表性的《默杀》《抓娃娃》《从21世纪安全撤离》《异人之下》《解密》五部影片入手，简要分析男性凝视下女性角色的表现。这五部当中，有我个人很喜欢的，也有让我如坐针毡的。各片的品质高下或许见仁见智，但若我们拿出“男性凝视”这把戒尺来看，其实它们都有需要批评的地方。 2:11 对“男性凝视”定义的简单概括 3:17 暑期档小爆头炮《默杀》，好久没看到让我这么难受的电影了 6:53 把小女孩放在伤害链最底端，刻意营造同情 8:45 男凝变异成厌女 10:27 《抓娃娃》已经是闫非彭大魔“白日梦三部曲”最女性友好的一部了 12:22 马丽的角色如何在父权制下体现女性的闪光点 14:12 仍旧无法挣脱家庭关系的束缚 14:50 口碑高峰《从21世纪安全撤离》的超雄气质 15:31 童年女神杨艺长大跟好兄弟在一起，这种幻想本身就带有男性对女性情感状态的揣测 16:47 自甘堕落？踏足风尘？ 18:07 刚上映的《异人之下》，特效水平有初创性的突破 20:03 “夏禾”BGM的靡靡之音 21:53 风莎燕冯宝宝两个女性角色与张楚岚深度接触的方式都难以摆脱对肢体的裸露 24:15 陈思诚能拍出《解密》，得益于两个关键人物 26:04 春梦了无痕——稻草上的大胸美女...... 27:32 性压抑年代下“小梅”的投怀送抱 29:44 前两年暑期档影片中女性角色与今年对比来看的变化 30:50 为什么会这样？ 33:09 女导演们，不要轻易把商业市场让给清一色的男性叙事 《废话燃料》首个听友群正式上线啦！计划在常规的播客节目推送以外，尽可能多搞一些社群内专属的互动活动和大家一起玩儿～现在进群的uu都是《废话燃料》第一轮精神股东哦

感谢豆瓣的支持！欢迎到豆瓣收听《废话燃料》第18届FIRST青年影展相关内容。 在第18届FIRST青年影展开幕前，据我所知，训练营的拍摄日程已经在如火如荼地进行中了。 我的判断来源于过去连续三年参与FIRST的经验，以及跟曾经参与过训练营的导师、主创交流所获得的信息。本期节目录制于去年FIRST青年影展的最后几日，当时我以“FIRST影展特派员”的身份来到西宁，又有了一番与训练营入围主创住在同一间青旅的经历。 希望这期节目能够小小地为大家揭开一些训练营的面纱，至于今年大家想听到什么内容，欢迎留言互动告诉我～ 1:02 对训练营形式的简要介绍 4:35 3年内观看训练营短片的感受 5:34 八卦部分正式开始 6:05 创作特征：极限性 6:50 作品特征：跟导师强相关 8:40 入选训练营的创作者构成 9:49 作为摄影助理，在训练营拍摄日的工作日常 10:45 训练营对青年影人的意义 13:34 存在的一些问题 Shownotes in English: Before the opening of the 18th FIRST Film Festival, as far as I know, the shooting schedule for the training camp is already in full swing. My judgment comes from the experience of participating in FIRST for the past three consecutive years, as well as the information I've gained from talking to the mentors and creators who have participated in the training camp. This program was recorded during the last days of last year's FIRST International Film Festival, when I came to Xining as a "FIRST Special Agent" and had the experience of staying in the same hostel as the finalists of the training camp. I hope that this episode will shed some light on the camp, and let me know what you'd like to hear about this year in the comments! 1:02 A brief overview of the training camp format 4:35 What it's like to watch short films of the camp in 3 years 5:34 Official start of the gossip section 6:05 Characteristics of the working ：limitlessness 6:50 Characteristics of the work: strong relevance to the mentors 8:40 Composition of creators selected for the training camp 9:49 Daily work as a photographer's assistant on a shooting day at the camp 10:45 The significance of the camp for young filmmakers 13:34 Some problems

7月13号，也就是《抓娃娃》点映开始的第一天，我在北京非中心地带的一家影城自己买票进场观影，当时满场座无虚席的场面让我惊讶——快赶上我们办免费活动的上座率了。而这家影院的票价绝不便宜，可见沈腾马丽再度联手的票房号召力。 这是原开心麻花骨干、现独立发展的闫非、彭大魔执导的第三部长片，沿用了一些“西虹市宇宙”的设定，但是跟他们的前两部电影相比已经有了较大的发展。 本期节目我们本想趁热乎劲聊聊《抓娃娃》咋样，以及沈腾马丽的表演，却意外地延伸出不少话题，比如南北方的喜剧风格差异，“小品电影”能走得远吗？国内的喜剧面临着什么无法改变的现状，甚至讨论到我们观察到的电影市场构成情况。 天南海北，希望能对大家有所启发和帮助。 1:18 史彭元在演“东北好儿子”一途的造诣 2:45 无法宣之于口的“接班人计划” 4:48 闫非彭大魔的“白日梦三部曲” 9:14 “西虹市喜剧”和“麻花喜剧”是不是一回事？ 11:41 高级喜剧——喜皮悲底 12:55 比《楚门的世界》还惨的地方 14:32 分享各自的笑点 18:10 北方即时性包袱喜剧 v.s. 南方铺垫型场景喜剧 21:40 小品电影的盛行 22:27 “喜剧是稀缺资源”，金棕榈得主《阿诺拉》也算喜剧 23:58 《抓娃娃》比前两部长片在结构上的进步 25:15 对小品电影的强烈声援 28:23 原创性不够与尺度的拘束 30:59 父亲-大儿子故事线的牺牲 34:04 悲剧底色的解读：“接班人计划”通过对父权的对抗而展现成果 35:11关于“粉饰伤害”争议点的讨论 39:23 闫非彭大魔两人搭档分工的猜想 42:36 味道浓重的男性神话一以贯之 43:56 沈腾的表演风格变化 47:30 沈腾在《抓娃娃》里的表演高光 50:03 萨日娜的亮眼表现 51:19 从行业视角看《抓娃娃》的火爆 54:04 对于电影产业资本流向的一些见解 56:00 商业片和艺术片的恒久冲突

6月底的最后几天，突然在影迷群看到大家转发的聊天记录：原来85岁的科波拉导演来到了位于北京小西天的电影资料馆，参与一场“由他执导的电影”的放映活动。 不消多说，当天放映的大概率是他毁誉参半（毁远大于誉）的新片《大都会》。这部大制作电影目前在全球范围内的销售和发行尚处在一个不太乐观的形势，希望他本人来到中国的举动，能推动相关进程。 借此机会，也终于能抽出时间跟大家好好聊聊本届戛纳我心目中最大的遗珠，《大都会》。 1:44 科波拉为何而来？ 3:54 科波拉中国行可能实现的两个目的 8:46 《大都会》可能公映吗？ 9:40 在美国本土被评为R级的理由依据 12:41从时间-地点-人物的基本要素分析《大都会》的内容框架 16:00 与原著《喀提林阴谋》的关系 18:59 片中男主人公的身份是由凯撒+喀提林两个历史人物融合而成 20:20 关于“时间静止”的超能力在片中的作用 23:39 重要概念——“冲突” 25:27 属于科波拉的《一步之遥》 28:51 一种全新的电影语言：传统庸俗的戏剧底座+现代创新的视听 30:15 新语言对《大都会》产生的作用 32:33 三个细节层面分析科波拉是如何创造新语言的 33:43 色调——“被雾雨笼罩的金碧辉煌” 34:59 制景——简洁的木质城市模型 37:35 媒介——简单粗暴的打破第四面墙紧接着运用精湛的分屏技巧 41:15 “导演的导演”

欢迎到豆瓣收听《废话燃料》第26届上海国际电影节相关节目，感谢豆瓣的支持！ 《刺猬》自从官宣以来，经历了将近三年时间才首映。相比今年金爵奖主竞赛其他华语片的进度，算是制作节奏很慢的一部电影了。为什么会拉到这么久，在本期节目里我们进行了一番八卦性质的猜测，纯属个人猜测哈。 《刺猬》改编自作家郑执的短篇小说《仙症》，讲述了一段发生在东北的家庭史诗，带有强烈的魔幻色彩。在转译为影像的过程中，顾长卫发挥了自己在画面设计上的长处，把原著中王战团的视点呈现在影像里。本期我们就来聊聊，电影和原著小说的之间的关系，究竟拍出了几分神韵？然而受到种种条件限制，《刺猬》又有哪些无法弥补的遗憾？葛优王俊凯这爷俩的搭档，激发出了怎样的化学反应？ 2:27 凉菜 2:46 第一次参与和电影节官方日程不重合的媒体场，新鲜 5:12 热菜 5:29 对于顾长卫拍片节奏的认知 6:29 英皇影业与葛优大爷的合约回顾 8:37 故事删减的痕迹 9:45 与原著小说较为贴近 10:31 主菜 11:15 王战团被模糊化的身世 13:22 内容实质：两代男性所经历过的来自历史和家庭的风暴 14:33 王战团和周正跨越代际的交往 15:20 顾长卫作品中的人文关怀 17:25 核心台词——“卡住”的含义 21:40 东北群像的塑造 25:47 东北传统的萨满等信仰文化土壤丰厚 27:27 导演视听的创想：把家拍成船 30:46 关键节点之后，影像开始逐渐丧失魅力 33:47 葛优与小说中“王战团”形象的出入 34:27 葛优与范伟，两位表演大拿的戏路类比 35:43 葛优所追求的突破 38:56 清澈的呆傻 42:13 努力的小凯 46:11 后半截王俊凯表演的层次单一？争论 51:08 果盘 51:16 组合内三位少年如今在电影上各自走到哪步？大家想听吗 53:19 因为一个未来的选题，两位主播险些分道扬镳 shownotes in English: Welcome to Douban to listen to NonsenseFuel 26th Shanghai International Film Festival related programs, thanks to Douban! The Hedgehog has taken almost three years to premiere since its official announcement. Compared to the progress of other Chinese-language films in the main competition of this year's Golden Goblet Awards, it's considered to be a movie with a very slow production pace. Why it will pull so long, in this program we have a gossip nature of speculation, purely personal speculation haha. The Hedgehog is based on the short story "Immortal Disease" by author Zheng Zhi, about a family epic that takes place in the Northeast with strong magical overtones. In the process of translating it to video, Gu played to his strengths in graphic design, presenting the point-of-view of the original book's Wang Zhantuan in the image. In this issue, we'll talk about the relationship between the movie and the original novel, and how much magic has been captured? However, due to various constraints, what are the irreparable regrets of The Hedgehog? What kind of chemistry was created by the pairing of Ge You and Wang Jun Kai? 2:27 Gazpacho 2:46 First time participating in a press field that doesn't overlap with the festival's official schedule, fresh! 5:12 Hot dishes 5:29 Perception of Gu Changwei's filming rhythm 6:29 Review of Emperor Motion Pictures' contract with Mr. Ge You 8:37 Traces of story deletion 9:45 Closer to the Original Novel 10:31 The main course 11:15 The blurred life of Wang Zhantuan 13:22 Substance: Storms from history and family experienced by two generations of men 14:33 The intergenerational relationship between Wang Zhantuan and Zhou Zheng 15:20 Humanistic Concerns in Gu Changwei's Works 17:25 The Meaning of "Stuck" as a Core Line 21:40 Portrayal of the Northeast 25:47 The rich cultural soil of traditional shamanic beliefs in the Northeast 27:27 Director's audio-visual creation: making a boat out of a home 30:46 After the key point, the image begins to lose its charm 33:47 The Difference Between Ge You and the Novel's "Wang Zhantuan" Image 34:27 Ge You and Fan Wei, analogies between the two great performers 35:43 The breakthrough that Ge You was looking for 38:56 Clearly dumb 42:13 The hardworking Kai 46:11 The single level of Wang Junkai's performance in the second half of the movie? Argumentative 51:08 Fruit plate 51:16 How far have each of the three teenagers in the group gone in their movies now? Do you want to hear about it? 53:19 The two anchors nearly parted ways over a future pick

欢迎到豆瓣收听《废话燃料》第26届上海国际电影节相关节目，感谢豆瓣的支持！ 导演管虎曾在采访中表示，拍摄完《八佰》和《金刚川》两部商业大片之后，他把更多时间留给了自己，在极度的压抑和疲惫中触底反弹，爆发出强烈的表达欲和产能。 疫情期间，他着重完成了两部作品——《狗阵》与《一个男人和一个女人》。其中，《狗阵》带他来到了戛纳一种关注大奖的领奖台上。那么这部入围金爵奖的《一个男人和一个女人》又呈现了一番怎样的景象？在疫情的风控下，两颗孤单的心向彼此靠近，该如何界定这种关系？黄渤倪妮两位国民演员，又是如何表现这次的角色的？ 0:30 凉菜 1:10 HiShorts!联手上海美术电影厂举办的动画艺术展，为期两个月，值得逛逛 3:09 ShangHiShorts!展馆现场的布置，去年获奖的几部人气短片可以看到啦 4:56 最近几天在上影节观影体验的总结 8:56 延伸话题：你们在看电影的时候遇到最奇葩的事是什么？ 11:05 热菜 11:19 《狗阵》与《一个男人和一个女人》（简称《男女》）的联系与比较 14:39 两人关系的缘起 18:50 主食 19:27 香港封控下的景观 21:59 室内戏份，声音的侵入和空间的融合 24:31 管虎对特殊时期的态度：不回避，抽离情绪，从激动到静置 26:52 倪妮和黄渤的表演高光 30:24 解读片名的含义 31:51 一些不够圆融的部分 34:49 果盘 34:52 对于亚洲新人奖入围影片的关注 shownotes in English: Welcome to Douban to listen to NonsenseFuel 26th Shanghai International Film Festival related programs, thanks to Douban! Director Guan Hu once said in an interview that after filming two commercial blockbusters, The Eight Hundred and The Sacrifice，he left more time for himself, bottoming out in extreme repression and exhaustion, and exploding with a strong desire and capacity for expression. During the epidemic, he focused on completing two works - Black Dog and A Man and a Woman. Among them, Black Dog brought him to the podium of the Grand Prix d'Attention at Cannes. So what does this Golden Goblet shortlisted film "A Man and a Woman" present? Under the wind control of the epidemic, two lonely hearts approach each other, how to define this relationship? How do the two national actors, Huang Bo and Ni Ni, perform their roles this time around? 0:30 Gazpacho 1:10 HiShorts! has a two-month long animation art exhibition organized by Shanghai Fine Arts Film Studio. 3:09 ShangHiShorts! Pavilion setup, some of last year's award-winning short films can be seen! 4:56 A summary of the last few days at SIFF. 8:56 Extended topic: What's the strangest thing you've encountered while watching a movie? 11:05 Hot dishes 11:19 Connections and comparisons between Black Dog and A Man and a Woman 14:39 The origins of the relationship between the two 18:50 Staple food 19:27 Hong Kong's landscape under sealing control 21:59 Indoor scenes, the intrusion of sound and the integration of space 24:31 Guan Hu's approach to the special period: no avoidance, abstraction of emotions, from agitation to stasis 26:52 Highlights of Ni Ni and Huang Bo's performances 30:24 Deciphering the meaning of the title of the movie 31:51 Some parts that are not well rounded 34:49 The fruit plate 34:52 Concerns about Asian New Talent Award finalist films

欢迎到豆瓣收听《废话燃料》第26届上海国际电影节相关节目，感谢豆瓣的支持！ 本届上影节金爵奖的主竞赛入围影片从今天开始官方展映，首映口碑开始释出，在前几天录制的前线系列影评也逐渐可以发布出来啦！ 第一期就跟大家聊聊由魏书钧执导，黄晓明、祖峰、陆小芬主演的《阳光俱乐部》。这部新作延续了哪些魏书钧之前的风格？这次他观察到的是一组怎样的家庭关系？从戛纳到上海，魏书钧经历了什么？以及，贾樟柯在片中妙趣横生的表演发挥。 1:42 国内电影节的节目形式调整为：凉菜、热菜、主食、果盘，更符合国人胃口 3:32 凉菜 4:02 上影节的媒体证申请经验分享，需要材料：作品+公章介绍信 7:04 热菜 8:12 黄晓明发福，为“心青年”角色服务 8:55 黄晓明-祖峰-陆小芬组成的奇妙家庭 11:30 支线人物的支线剧情，枝桠蔓生 12:48 主食 13:19 临时赶的假期作业即视感 14:59 对小机灵、不走寻常路的追逐 17:24 新一代导演的共同特性：反对并解构严肃叙事 19:07 混杂的口音 22:01 虚浮的背面，是距离感和陌生的新鲜 23:44 出彩的配角设置：贾樟柯扮演的蔡亮博士 23:58 贾樟柯近年在中青代导演作品中的表演脉络，逐渐成熟 27:49 果盘 27:57 曾经入围三大的90后大陆导演，他们过得怎么样？ 本期节目给大家带来了影迷福利！在豆瓣播客上收听本集，转发节目并关注我 ，将会抽取8名幸运观众，每人赠送一份由豆瓣豆品与索尼影视电视联手推出的哥伦比亚100周年纪念电影扑克与纪念周边～品类如下，款式随机，22号开奖哦～ shownotes in English: Welcome to Douban to listen to NonsenseFuel 26th Shanghai International Film Festival related programs, thanks to Douban! 1:42 The program format of the Domestic Film Festival has been adjusted to: cold dishes, hot dishes, main dishes and fruit plates, which is more in line with the national appetite 3:32 Cold dishes 4:02 Experience sharing of media pass application at SIFF, required materials: works + official seal introduction letter 7:04 Hot dishes 8:12 Huang Xiaoming getting fat for his role as "mentally handicapped person". 8:55 Huang Xiaoming-Zu Feng-Lu Xiaofen's marvelous family 11:30 Branching plots for branching characters, branching out 12:48 main dishes 13:19 The sense of temporary rushed vacation homework 14:59 The Chase of the Witty and the Unusual 17:24 A common trait of the new generation of directors: opposing and deconstructing serious narratives 19:07 Mixed accents 22:01 Behind the vainglory is a sense of distance and unfamiliar freshness 23:44 A brilliant supporting role: Jia Zhangke as Dr. Cai Liang 23:58 Jia Zhangke's performance in the works of young and middle-aged directors has matured in recent years. 27:49 Fruit Plate 27:57 How are the post-90s mainland directors who were once shortlisted for the Big Three?

欢迎到豆瓣收听《废话燃料》第26届上海国际电影节相关节目，感谢豆瓣的支持！ 1:14 三年前来到上海的回忆 3:08 今年来到上海的感受 6:38 徐汇到黄埔，大搬家 8:37 开始聊聊上影节的媒体待遇 12:39 对上海影城-银星皇冠酒店的场馆体验 18:15 上影节盒饭好吃吗？ 21:53 魔幻之旅——和“心青年”的交集 27:17 《红辣椒》和《神探威威猫》的撞梗 29:23 高架桥上被撞倒的外卖小哥 30:56 看《德州电锯杀人狂》被安排了四排四座，相当吉利呢 shownotes in English: Welcome to Douban to listen to NonsenseFuel 26th Shanghai International Film Festival related programs, thanks to Douban! 1:14 Memories of coming to Shanghai three years ago 3:08 Feelings of coming to Shanghai this year 6:38 Xuhui to Huangpu, big move! 8:37 Let's talk about the media treatment at SIFF. 12:39 Venue experience at SFC Shanghai Cinema - Silver Star Crown Hotel 18:15 Is the SIFF box lunch good? 21:53 The Magic Journey - A Meeting with Persons with intellectual disabilities 27:17 Paprika and Dective WINWIN cat 29:23 Delivery boy knocked down on viaduct 30:56 It's quite auspicious to have four rows of four seats(In Chinese pronunciation, four harmonizes with death.) for The Texas Chain Saw Massacre

《美国内战》终于在大陆公映了。尽管早前在受邀评测剧本的时候，我们一致觉得这部片子无论从品质还是舆论层面都有不小的问题，但从成片角度看下来，有些桥段呈现得比剧本上要精彩很多。 这是好莱坞电影厂牌A24成立以来投资最大的电影，对外宣称具有5000万美元的制作成本。按照常规意义上的盈亏点分析，《美国内战》需要卖到1.5亿美元才能收回成本。A24对本片的信心强烈到，绕开有极大概率会纳入官方单元的戛纳电影节，直接跨入市场。 本期节目就跟大家聊聊《美国内战》在所谓的战争类型下包裹的主题——本质上这是一部探讨摄影机超然权力的电影，以及导演艾历克斯·加兰的自我表达，哪些玩砸了，哪些大加分。 2:59 还差多少回本？ 4:10 片商关系+主演阵容，《美国内战》如果送戛纳很有戏 6:52 宣传热点与影片内容的错位 8:18 在战争背景下强调摄影/拍摄的作用 15:14 相机的地位不亚于枪炮 18:30 A24对大制作电影缺乏制片经验，导致战争场面的特效做得天马行空 20:13 人物主线：新旧美国梦交替 21:49 主人公李在关键时刻的软脚虾行为令人费解 22:51 “金曲大串烧”覆盖了战场真实的声音 25:22 对于《美国内战》原剧本的初体会 26:04 由“李”这个名字展开的联想（此处为纯联想，经查证后发现原来女主人公的名字灵感来源于著名摄影师李·米勒） 28:16 原剧本搬上银幕所作改动的原则：提升叙事节奏 30:02 几场戏在发生时间和人物出场上的改动 34:14 改动的关键戏份，能够成功过审的重要原因 35:32 杰西·普莱蒙的表演，神来之笔 42:49 其他细节上的删改和遗憾 46:55 对上影节报道的预告 给听友们整点周边！在豆瓣播客 收听本期节目👉 《美国内战》删减与过审分析 ，点赞并转发播客节目，抽1个送《美国内战》正版全套海报2张（一样一张）+全套纪念票根（一样一张）+摇扇1个～

从戛纳乘坐大巴踏上归程的那天，搭档告诉我，前一天我在《酱园弄》发布会上提出的那个问题，在热搜上已经吵成粥了。我点开看看，#章子怡质问陈可辛#的词条赫然就摆在最醒目的位置。章子怡在发布会上的一个语气，一次回眸，也被大家拿出来逐帧放大解读。 我想出的内容/由我的问题得到的答案又一次完全超出我的掌控和想象。所以这期节目，还是有必要聊聊我在发布会上的感受，辅以一些关于《酱园弄》现有的场外信息，让听友们有一个更直观的感受。我还整理了一些发布会上主创的原声，希望能够尽可能还原当时的交流氛围。 为什么说“又”？ 这又涉及到我与一位艺人的一桩往事。经过两次的事件叠加，我对互联网上评断信息的标准有了一些小小的思考。 1:42 从“始作俑者”的视角，看“酱园弄剧组不合”相关热搜 3:14 从极速定剪拿标开始，反推《酱园弄》此次入戛纳的重要性 5:05 陈可辛的取舍之道 9:56 《酱园弄》媒体发布会复盘 17:30 2019年采访张颂文的往事 21:40 2023年《狂飙》大火，我们之前的采访视频也被翻了出来 23:36 反思与觉悟 28:32 发布会上我给章子怡提出的原装问题：有哪场暴力戏份在拍摄时让你印象深刻？ 30:50 “剪了？没剪！” 34:20 章子怡为体验角色进入屠宰场的经历 35:29 不太习惯提前设计现场表演 36:48 杨幂全场的唯一发言 38:32 导演：没权代表女人 39:36 《金枝玉叶》的LGBT元素？ Shownotes in English: On the day I took the bus home from Cannes, my partner told me that the question I'd asked at the launch of She Got No Name the day before had been a hot topic of debate. I clicked on it, and the phrase #Zhang Ziyi questioned Peter Ho-Sun Chan# was right at the top of the list. Zhang Ziyi's one tone of voice and one glance back at the launch event were also taken out and interpreted frame by frame in a zoomed-in manner. Once again, what I came up with/was answered by my questions was completely out of my control and imagination. So for this episode, it's still necessary to talk about how I felt at the conference, supplemented by some existing off-site information about She Got No Name, so that listeners can get a more visceral feel for it. I've also compiled some of the original voices of the creators at the conference, in the hope of restoring as much of the atmosphere of the exchange as possible. Why “again”? Well, it involves a past incident with an artist. After the two incidents, I have some thoughts about the standard of judging information on the internet. 1:42 From the perspective of the “originator”, look at the hot searches related to the “She Got No Name crew disagreement”. 3:14 The importance of the Cannes entry for She Got No Name from the point of view of the fast final cut and the bid. 5:05 Peter Ho-Sun Chan's way of choosing between the two. 9:56 Review of the press conference for She Got No Name 17:30 Past interview with Zhang Songwen in 2019 21:40 2023 Punch Out is a hit and our previous interview video has been rehashed 23:36 Reflection and realization 28:32 Original question I posed to Zhang Ziyi at the release party: what violent scene stood out to you while filming? 30:50 “Cut? It wasn't cut!” 34:20 Zhang Ziyi's experience of entering a slaughterhouse for her role 35:29 Not really used to designing live performances in advance 36:48 Yang Mi's only speech in the whole scene 38:32 Director: doesn't have the right to represent women 39:36 LGBT elements of He's a Woman, She's a Man?

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 随着短平快，却富有编排创意的闭幕晚会结束，第77届戛纳电影节的各大奖项都有了归属。美国电影《阿诺拉》摘得金棕榈，场刊最高分的《神圣无花果之种》只拿到一个从字典里翻出来的生僻奖项——“评审团特别奖”。 这届戛纳可以说是被美国电影全面攻占入住的一年，无论是评审团主席格蕾塔·葛韦格所代表横扫好莱坞的流行文化，还是八项大奖中美国电影占据其三的超高比例都深切地说明了这一点。 每个电影节前线的保留曲目，我们对颁奖名单进行了一番审判。谁有点赛脸，谁比较值得？通过颁奖名单，我们可以看出当下戛纳对于艺术电影的态度是什么？ 本期节目还有一小段珍贵的花絮内容，就是电影记者忠泽采访《阿诺拉》摄影指导的经历分享。这或许是目前中国记者对金棕榈得主剧组的首篇报道，希望能够通过忠泽的讲述，能让大家收获更多关于美国独立电影现状的认识。 第77届戛纳前线播客日记到这里告一段落了，但相关更新还将继续。大家有什么感兴趣的话题，欢迎在留言告诉我们哦～ 1:09 开胃菜 2:18 准备5年的正装，终于在戛纳红毯充分利用上了 4:05 国内外电影节颁奖晚会播出方式的区别 6:00 开场小片改编自《星战》片头，致敬荣誉金棕榈得主乔治·卢卡斯 7:06 科波拉给卢卡斯颁奖，大哥跟小弟的拉手 10:35 一届戛纳到底颁几个荣誉金棕榈？ 12:51 主菜 13:08 短片金棕榈《无法保持沉默的人》，“特别提及”的意义 16:10 金摄影机奖《阿曼达》 17:10 短片奖+金摄影机+基石单元合成的新企划：明日电影（CINÉMA DE DEMAIN） 18:17 集中开火：今年评奖三大槽点 26:21 最佳剧本奖《某种物质》，给得又小又怪 26:42 最佳女演员+评审团奖《艾米莉亚·佩雷斯》，真的有必要吗 30:01 最佳男演员《善良的种类》，兰斯莫斯的面子比天大 32:22 评审团特别奖《神圣无花果之种》，为了不给金棕榈开始翻字典查生僻奖项了 38:34 最佳导演奖《壮游》，学习了戛纳对导演奖项的定义 40:44 评审团大奖《想象之光》，印度电影重返戛纳的意义，以及跟印度记者交流的分享 43:13 女性导演的创造力，对比老白男电影令人愤怒的僵化自恋 46:23 大家应该重新认识世界舞台上的印度电影了 50:55 从科波拉卢卡斯同框，联想到“新好莱坞”时代大师入住好莱坞荡气回肠的过往 51:56 金棕榈《阿诺拉》，众望所归 56:03 采访《阿诺拉》摄影指导Drew Daniels 的体验分享 57:17 最高奖的评奖标准 1:00:10 肖恩·贝克拍性工作者，好像欧阳锋练蛤蟆功 1:03:31 Drew Daniels 看完《神圣无花果之种》的担忧，美国独立电影的出路 1:05:31 《阿诺拉》剧组为拍片，在布鲁克林俄裔区的生活 1:08:59 甜点 1:09:30 来到戛纳，再回首恍然如梦，再回首我心依旧 1:15:58 下一站？ Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! With the conclusion of the short but creatively choreographed Closing Gala, the major awards of the 77th Cannes Film Festival have been decided. The American film “Anora” won the Palme d'Or, and the highest-scoring film in the program, “The Seed of the Sacred Fig” received only the “Special Jury Prize,” an out-of-the-way award that was rewritten from the dictionary. This year's Cannes was arguably the one in which American cinema took over, both in terms of the sweeping Hollywood pop culture represented by jury president Greta Gerwig, and in terms of the high percentage of American films that took up three of the eight prizes. A holdover from every festival front, we put the awards list through its paces. Who had a bit of a a misnomer and who was more deserving? What can we tell about Cannes' attitude to art cinema at the moment by looking at the awards list? There's also a small piece of precious bonus content in this episode, which is the sharing of film journalist Zhongze's experience of interviewing the Cinematographer of “Anora”. This is perhaps the first report on the Palme d'Or winner's crew by a Chinese journalist, and we hope to gain a better understanding of the current state of American independent cinema through Zhongze's narration. This is the end of the 77th Cannes Frontiers podcast diary, but updates will continue. If there are any topics you're interested in, feel free to let us know in the comments! 1:09 Appetizer 2:18 5 years of preparation for the formal dress, finally in Cannes red carpet to make full use of it 4:05 Differences in the way the awards gala is aired at national and international film festivals 6:00 Opening film adapted from the opening credits of Star Wars, a tribute to honorary Palme d'Or winner George Lucas 7:06 Coppola presents Lucas with his award, big brother pulling hands with little brother 10:35 How many Honorary Palmes d'Or are awarded at Cannes? 12:51 Main course 13:08 Palme d'Or for the short film The Man Who Could Not Remain Silent, the significance of the “special mention”. 16:10 Camera d'Or for Amanda 17:10 New program of the Short Film Award + Camera d'Or: CINÉMA DE DEMAIN (Cinema of Tomorrow) 18:17 Focused fire: the three biggest slogans of this year's awards 26:21 Best Screenplay for The Substance, small and weird. 26:42 Best Actress + Jury Prize for Emilia Perez, was it really necessary? 30:01 Best Actor for Kinds of Kindness, Lanthimos' face is bigger than the sky 32:22 Special Jury Prize for The Seed, so we're not giving the Palme d'Or, but going to the dictionary to look up obscure awards. 38:34 Best Director for Grand tour, learning the Cannes definition of directing. 40:44 Grand Jury Prize for All We Imagine as Light, the significance of the return of Indian cinema to Cannes, and an exchange with an Indian journalist 43:13 The creativity of women filmmakers, and the infuriatingly rigid narcissism of old white male films. 46:23 It's time for everyone to reacquaint themselves with Indian cinema on the world stage 50:55 Coppola and Lucas in the same frame, a reminder of the “New Hollywood” era of masters in Hollywood's stirring past 51:56 The Palme d'Or, Anora, is a worthy winner. 56:03 Interview with Drew Daniels, Director of Photography for Anora, sharing his experience. 57:17 The criteria for the top prizes 1:00:10 Sean Baker photographs sex workers like Ouyang Feng practicing toadstools 1:03:31 Drew Daniels' concerns after seeing the Seed , the way forward for American independent film 1:05:31 The crew of “Anora” living in Brooklyn's Russian neighborhood for the movie