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！ 一部看起来充盈而柔和，甚至是有几分天真的电影，只是因为不回避冲突，就遭到了404的结局，不禁让人唏嘘。 直到娄烨导演离开戛纳，他都未曾接受一家华语媒体的采访。据朋友回忆，临近首映的那几天，剧组主创在街上看到中国记者，都会投来警惕而审慎的目光。个中原因不难理解，毕竟导演手上还有一部制作规模较大的影片等待上映，但关于这部影片幕后详尽的故事，我们仍旧一无所知。 我相信，这部这部电影仍处于未完成状态，直到它能跟更多中国观众见面，在大家能够不必跟法国安保傻大个掰扯、不用赶公交车，也能静静地看完的时候。 0:47 开胃菜 1:07 干货分享：怎么要到心爱影人的签名合照 8:53 在戛纳最要紧的事，想到了一定要立马去做 12:09 放弃戈达尔遗作唯一一场放映赶场去看娄烨，谁能有我痛苦？（还没赶上） 14:39 中国影迷一起堵在路上 15:53 主菜 16:26 由《春风沉醉的夜晚》未公布镜头而衍生出的新故事 19:16 秦昊在《春晚》和《风雨云》里角色的连接 20:00 疫情爆发下的剧组生活 21:17 伪记录和伪剧情的两个极点 22:05 娄烨追求艺术尝试的方向改变 25:09 竖屏格式的创新运用 30:10 张颂文分享过娄烨在片场的状态 32:57 困在窗口中的视点 39:34 “告状电影”？ 45:42 记录讲述等于指控？ 49:53 还会有第七代导演吗？如果有，他们需要具备什么素养？ 56:00 甜点 57:02 《风流一代》首映后，第六代导演的同年作品大对比 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! A movie that seemed full and soft, even a little naive, was met with a 404 ending just because it didn't avoid the conflict, and one can't help but be saddened. Until director Lou Ye left Cannes, he had never accepted an interview with a single Chinese-language media outlet. According to a friend's recollection, in the days leading up to the premiere, when the cast and crew saw Chinese journalists on the street, they would cast a wary and cautious gaze. It's not hard to understand why. After all, the director has a bigger movie on his hands waiting to be released, but we still don't know anything about the detailed behind-the-scenes story of the movie. I'm sure the movie will remain unfinished until it reaches a wider audience in China, when we can all watch it in peace without having to wrestle with French security giants or catch a bus. 0:47 Appetizer 1:07 How to get an autographed photo of your favorite filmmakers 8:53 The most important thing to do in Cannes is to do it as soon as you think of it! 12:09 Abandon the only screening of Godard's last film to go see Lou Ye, who can share my pain? （I haven't caught up yet.) 14:39 Chinese moviegoers are stuck in traffic together. 15:53 Main course 16:26 A new story derived from unreleased footage of Spring Fever 19:16 Connection between Qin Hao's roles in Spring Fever and The Shadow Play 20:00 Life on the set under the epidemic outbreak 21:17 The two poles of pseudo-documentary and pseudo-drama 22:05 Lou Ye's change of direction in pursuit of artistic experimentation 25:09 The innovative use of vertical screen format 30:10 Zhang Songwen shared Lou Ye's condition on set 32:57 Point of view trapped in a window 39:34 “Sue movie”? 45:42 Record telling equals accusation? 49:53 Will there be a seventh generation of directors? If so, what qualities do they need to have? 56:00 Dessert 57:02 After the premiere of Caught by the Tides, a big comparison of the same year's work by the sixth generation of directors

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！ 第三天的更新，终于追上来啦！最近几天重磅内容很多，《疯狂的麦克斯：狂暴女神》、娄烨新片、还有科波拉新作《大都会》。有的内容我认为以播客日记的载体不足以盛放我们全部的情绪和启发，所以后续会以更深度的形式与大家见面～ 今天这一期的节目，主要聊聊对于几个媒体证件等级权益的观察，以及展开说说《狂暴女神》的相关讯息，以及新闻发布会上主创的交流。 1:49 开胃菜 2:25 粉证线上抢票与其他证件的待遇区别 3:26 粉证参加媒体发布会的高级权限 5:09 媒体证四大颜色级别划分 7:56 疑似白证的一位老哥刷新了我的认知 10:18 主菜 11:08 戛纳电影节对乔治·米勒的优待 13:24 《狂暴女神》与其他《疯狂的麦克斯》系列不同的类型风格 14:57 五大篇章，深度挖掘前作中查理兹·塞隆的角色魅力来源 15:52 安雅·泰勒-乔伊之于《狂暴女神》，有点像杨幂之于《没有一顿火锅解决不了的事》？？ 16:56 小女孩跟锤哥的双人对位戏份味如嚼蜡 20:07 评析视觉风格的三个方面 20:18 一眼新的武器装备 21:43 双方战斗场面平淡，不死乔一派的加入增加了变化 23:23 呈现死亡的方式多元，想到了“五行杀人”的创意 25:30 彩蛋 28:40 乔治·米勒关于摄制技术进步的观察 29:58 乔治·米勒对于动作商业片中电影语言的探讨 31:48 乔治·米勒分享《疯狂的麦克斯》一拍拍五部的心路历程 33:13 会不会还有续集？乔治·米勒在打“太极” 35:49 甜点 36:10 娄烨和《大都会》，都值得好好讲讲 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! Day 3 of updates, finally catching up! There's been a lot of heavy content in the last few days, with Furiosa: A Mad Max Saga, Lou Ye's new movie, and Coppola's new Megalopolis. I don't think the podcast diary is a good enough vehicle to hold all of our emotions and inspirations, so I'm going to follow it up with a more in-depth installment~! Today's installment focuses on observations about the rights of several media credentialing classes, as well as expanding on the message of “Furiosa: A Mad Max Saga”. 1:49 Appetizer 2:25 Pink card online ticket grabbing and other credentials treatment difference 3:26 Pink card to participate in the media conference of advanced privileges 5:09 Media pass four major color level division 7:56 An old man suspected to be a white pass refreshed my knowledge 10:18 The main course 11:08 Preferential treatment for George Miller at Cannes 13:24 The genre style that sets Furiosa apart from the rest of the Mad Max series 14:57 Five chapters that dig deeper into what made Charlize Theron's character so appealing in the previous film 15:52 Anya Taylor-Joy to Furiosa kind of like Yang Mi to Nothing Can't Be Undone by a HotPot 16:56 The little girl's duo scene with Chirs tastes like a chewy mess 20:07 Commenting on three aspects of the visual style 20:18 A look at the new weaponry 21:43 Battle scene between the two sides is bland, the addition of the Immortal Joe faction adds variety 23:23 Multiple ways of presenting deaths, thinking of the “Five Elements of Murder” idea. 25:30 Bonus 28:40 George Miller's observations on advances in filming technology 29:58 George Miller's discussion of the language of cinema in the action business film 31:48 George Miller shares his thoughts on making five Mad Max movies 33:13 Will there be a sequel? George Miller avoiding straight answer 35:49 Dessert. 36:10 Lou Ye and Megalopolis, both worth talking about

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！ 救命，第三天才发第二天的节目，俺真的已经尽力了，结果还是拖了更...但希望从内容上能在单纯影评以外聊些朋友们更感兴趣的。 比如：戛纳电影节的红毯谁能走？报道里很少提到的大道封禁，以及一条马路之隔的巨大拥堵。当然，也评评昨天看的两部主竞赛单元的女性电影，从而延伸出欧洲三大对于女性电影选择的一些隐性标准。 1:37 开胃菜 2:11 有卢米埃尔大厅票就能走的戛纳红毯 5:39 荷枪实弹，极其严格的道路封禁 7:47 为什么戛纳的观众都会化身无情的鼓掌机器人？ 10:25 主菜 10:24 《野性钻石》，抖音少女的魔怔成长 16:04 近几年欧洲电影节关注女性电影的角度 18:56 《拿针的女孩》，挑战伦理观念的剥削电影 25:06 甜点 25:30 《疯狂的麦克斯：狂暴女神》《一部未完成的电影》《大都会》，最想先听哪个？ Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! Help, I'm posting the second day's program on the third day, I've really tried my best, but I still ended up dragging it out more... But I hope to talk about something more interesting to my friends than just movie reviews. For example, who gets to walk the red carpet at Cannes? The seldom-mentioned boulevard closures, and the huge traffic jams across the street. And, of course, a review of the two women's films in the main competition that I saw yesterday, which extends some of the implicit criteria that the big three in Europe use to select women's films. 1:37 Appetizers 2:11 Cannes red carpet with Grand Lumière Theater ticket 5:39 Heavily armed, extremely strict road closures 7:47 Why are Cannes audiences transformed into relentless clapping robots? 10:25 The main course 10:24 Diamant Brut, the spellbinding growth of a Tiktok girl 16:04 Perspectives on women's cinema at European film festivals in recent years 18:56 The Girl with the Needle, an exploitation movie that challenges notions of ethics 25:06 Dessert 25:30 Furiosa: A Mad Max Saga, An Unfinished Film, Megalopolis, which one do you want to hear first?

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！ 在阵阵寒风中，我开始了第一天正式的看片日程。今天的播客内容，主要跟大家分享分享追星和开幕式内场节目的观看体验，以及本届开幕片、昆汀·杜皮约导演新作《第二幕》的简评。 附涛姐美照一张 0:54 开胃菜 1:15 主要场馆的体验，咖啡领取的福利 5:03 《艺术人生》式的戛纳开幕仪式 6:00 开幕典礼的两个主角：评审团主席和荣誉金棕榈得主 7:30 跟格蕾塔·葛韦格的深情互动 8:51 比诺什给梅姨颁奖，念稿给自己念哭了 10:30 卢米埃尔大厅的后门，追星之门 12:35 主菜 14:06 远了不好说，《第二幕》应该是三年来最好看的开幕片 18:07 在幽默中塞议题 21:02 各种玩梗、冒犯和“人身攻击” 22:05 亮点和不尽兴 26:14 甜点 26:17 空降主竞赛的女导演长片首作《野性钻石》，关注度较高 Shownotes in English: In the midst of a gusting cold wind, I began the first official day of my movie watching schedule. Today's podcast features a sharing of the viewing experience of the stargazers and the opening infield program, as well as a brief review of this year's opening film, the new Quentin Dupieux-directed film, Second Act. 0:54 Appetizers 1:15 A taste of the main venues, coffee pick-up benefits 5:03 Opening ceremony in Cannes in the style of “ARTIST”（A celebrity interview program broadcast in mainland China） 6:00 The two protagonists of the Opening Ceremony: the President of the Jury and the Honorary Palme d'Or Winner 7:30 An affectionate interaction with Greta Gerwig. 8:51 Binoche presents the award to Meryl and cries as she did the speech. 10:30 The back door of GRAND THÉÂTRE LUMIÈRE, the door to the stars. 12:35 The main course 14:06 Too far to tell, Second Act should be the best opening movie in three years 18:07 Stuffing issues with humor 21:02 All sorts of jokes, offenses and “personal attacks” 22:05 Highlights and lowlights 26:14 Dessert. 26:17 Wild Diamond, the feature debut of a female director who dropped into the main competition, is getting a lot of attention

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！ 终于终于来到戛纳。走出机场大门的瞬间，阳光明媚，戛纳电影节负责嘉宾接驳车的柜台也就在视线范围之内。迄今为止，一切都称得上是我最为顺滑的线下参展体验。 无巧不成书，前两天刚刚听完我上一期“五年戛纳，三年模拟”节目的一位听友，在命运的安排下跟我住进了同一间民宿，谁在了同一张床上。 这是一番怎样的邂逅？今年戛纳电影节开始抢票以来，各方体验如何？本期的甜点，我们还给大家分享了比我上一期播客里提到的更为详细的“媒体证件申请指南”，希望能帮到更多来到这里却抢不到票，非常难受的朋友。 戛纳的报道历程正式开始啦！大家想看到哪方面内容，欢迎和我们留言互动起来哦。 本期播客特别介绍：《抛开书本》记者/《走出森林》播客主播/剪辑师/导演忠泽 2:22 前菜 2:30 与忠泽同病相怜的“待机”经历 4:00 从线上抢票开始，聊聊戛纳电影节的初体验 13:43 延伸话题：一天最多看过几部电影？ 16:38 观影场域的概念 18:48 戛纳电影节与柏林、威尼斯抢票系统的对比分析 24:06 戛纳电影节影迷证与媒体证抢票的机制不同 25:16 转票在戛纳电影节是可行的吗？ 30:35 主菜 30:55 对于科波拉新作《大都会》的期待 33:16 对于娄烨新作《一部未完成的电影》以及陈可辛《酱园弄》的期待 35:31 对于在戛纳能看到的版本的讨论 37:05 老油条的无期待 39:53 甜点 40:33 三日证的内卷，影迷证的高门槛，都不能保证很好的抢票体验 42:54 戛纳对于新兴媒体账号申请证件看中的元素有哪些？ 43:31 对于播客等多元媒介的拥抱 52:03 换个角度想想，根据自身优势，去到最适合自己的电影节 Shownotes in English: Welcome to NonsenseFuel's 77th Cannes Film Festival related program, thanks to Douban.com! Finally arrived in Cannes. The moment I walked out of the airport gate, the sun was shining brightly and the Cannes Film Festival's counter in charge of guest shuttle buses was within sight. So far, everything qualifies as my smoothest offline exhibiting experience. Coincidentally, two days ago, after listening to my last program “Five Years in Cannes, Three Years in Simulation”, a friend of mine stayed in the same B&B as me by fate, in the same bed. What kind of encounter was it? How have you experienced the Cannes Film Festival this year since the start of the ticket rush? In this installment of Dessert, we also share with you a more detailed guide to applying for press credentials than the one I mentioned in my last podcast, in the hope that it will help more people who came to Cannes but couldn't get a ticket and are having a hard time doing so. The journey to Cannes has officially begun! Feel free to leave a comment on what you'd like to see. 2:22 Appetizers 2:30 The “standby” experience with Zhongze 4:00 Starting from the online ticket grabbing, let's talk about the first experience of Cannes Film Festival. 13:43 Extended Topic: How many movies do you see in a day? 16:38 The concept of the cinematic field 18:48 Comparative analysis of Cannes and Berlin/Venice ticketing system 24:06 Differences between fan passes and press passes at Cannes 25:16 Is ticket transfer feasible at Cannes? 30:35 Main course 30:55 Expectations for Coppola's new film Metropolis 33:16 Expectations for Lou Ye's new film “An Unfinished Film” and Chen Kexin's “Soya Sauce”. 35:31 Discussion of the version to be seen at Cannes 37:05 No expectations from the old farts 39:53 Dessert 40:33 The inward roll of three-day passes and the high threshold of fan passes don't guarantee a great ticket-grabbing experience 42:54 What elements does Cannes look for in emerging media accounts applying for credentials? 43:31 The embrace of multiple mediums such as podcasts 52:03 Think differently and go to the festival that suits you best, based on your strengths

从2021年开始，今年是我第四次拿到戛纳电影节的证件了，却将是第一次本人前往戛纳，参与线下活动的经历。 这中间发生了什么？为什么实现出国参加电影节这样一个小小的愿望竟要耗费3年时间？ 当我整理思绪，试图回溯3年以来的体验的时候，发现记忆里的素材早已经足够组成一段转折迭起的故事。于我而言，戛纳电影节的意义早就不只是“看电影”这么简单，而更像是一扇门，一扇艰难触碰到的门。 本期节目由我自己完成录制，但要感谢的人有很多。这里面包含适量的干货：我所获得过的三日证、线上观影证以及媒体证的申请条件和办法；少量的情绪，以及大量的人间戏剧。 希望能对大家有所帮助，也祝愿大家能早日登上“九九八十一难”里最后一难的大王八后背。 3:16 大学毕业以来的复杂工作经历 9:18 2020年开始，在豆瓣上加入影迷群体，了解到戛纳电影节相关讯息 10:14 2021年申请三日证 11:17 三日证的简介以及申请经验：写好动机信 18:03 主观无知与客观条件限制，选择退证 21:13 关注世界电影节，开始积累艺术电影的评论稿件 22:40 2022年申请线上看片证——专业证中的一种 23:02 申请线上看片证的注意事项，需要提供相关公司的资质证明 24:21 线上证的局限：想看的基本都不给看 27:46 开始产出同步于戛纳电影节举办日期的报道内容 28:07 2023年申请媒体证，渡劫的开始 32:18 戛纳媒体证件审核资质的策略：宽进严出 34:37 对于想要申请法国商务签的自由职业者的5条建议 40:00 我所犯下的错：申商务签找公司挂靠 42:10 戏剧性的一幕：发小考公上岸，我法签拒签 45:46 疯狂的日更报道计划 48:27 备战2024 49:14 2024年通过大平台申请媒体证 51:18 四月初拿到媒体证，再去预约签证中心的时间，发现整个四月都没名额了 51:57 一些病急乱投医的办法 53:56 2024.4.12晚，希望渺茫，基本没戏 56:31 2024.4.13早，被狗吵醒，峰回路转 58:50 2024.4.15早，表格没交，汗流浃背 1:07:27 2024.4.18午，补充材料，一脸懵逼 1:08:12 “FL”到底是啥？是灵魂的尽头，还是宇宙的终点？ 1:15:06 2024.4.19早，签证通过，喜出望外 1:16:37 2024.4.19晚，钱包丢失，乐极生悲 1:17:35 2024.4.20早，忐忑不安，无功而返 1:18:41 2024.4.22早，找回钱包，五进五出 1:19:38 心情：什么时候是我的第八十一难？ 1:21:35 追求去戛纳这件事的曲折对我性格产生的影响 特别鸣谢： 一直无私资助并鼓励我的史凤文女士 二十二岛主 陆支羽 孙凯 大清早把我吵醒抢名额的小金毛多多，祝她万寿无疆 Starting in 2021, this year will be the fourth time I've gotten my Cannes Film Festival credentials, yet it will be the first time I've traveled to Cannes in person and participated in the offline experience. What happened in between? Such a small wish as going abroad，why did it take 3 years to attend a film festival? As I organized my thoughts and tried to retrace my experiences over the past 3 years, I realized that I had enough material in my memory to form a story with many twists and turns. For me, Cannes Film Festival has long been more than just “going to the movies”, but more like a door, a door that is hard to reach. I recorded this program myself, but I have a lot of people to thank for it. It contains a fair amount of knowledge: the requirements and methods for obtaining three-day passes, online passes, and press passes that I've received; a little bit of emotion, and a lot of human drama. I hope it will be helpful to you, and I wish you all a speedy ascent to the back of the last of the “81 Difficulties”. Shownotes in English: 3:16 Complex work experience since college graduation 9:18 Starting in 2020, joining fan groups on Douban and learning about Cannes Film Festival 10:14 Applying for a three-day pass in 2021 11:17 Introduction to the three-day pass and the experience of applying: writing a good motivation letter 18:03 Subjective ignorance and objective constraints, choosing to withdraw from the festival 21:13 Focusing on world film festivals and starting to accumulate review copies of art films 22:40 Applying for an online viewing pass in 2022 - one of the professional passes 23:02 Notes on applying for an online pass, and the need to provide proof of qualifications from relevant companies 24:21 Limitations of online passes: basically no one that we want is allowed to see 27:46 Starting to produce content synchronized with the dates of the Cannes Film Festival 28:07 Applying for a press pass in 2023, the beginning of transcending my mortal coil 32:18 Cannes' strategy to qualify for press credentials: lenient entry, strict exit 34:37 5 tips for freelancers who want to apply for a business visa in France 40:00 The mistake I made: getting a company to rely on for my business visa application 42:10 Dramatic scene: my homie's exam was successful and I was denied a French visa 45:46 Crazy daily reporting schedule 48:27 Preparing for 2024 49:14 Applying for a media license through a big platform in 2024 51:18 I got my media pass at the beginning of April, and then went to make an appointment at the visa center and found out that there were no spots available for the whole month of April 51:57 Some sick and desperate solutions 53:56 2024.4.12 night, little hope, basically no chance 56:31 Early 2024.4.13, woken up by dog, peaks and valleys 58:50 2024.4.15 AM, form not submitted, sweating like hell 1:07:27 2024.4.18 AM, additional materials, confused 1:08:12 What is “FL” anyway? Is it the end of the soul, or the end of the universe? 1:15:06 2024.4.19 AM, visa approved, overjoyed 1:16:37 2024.4.19 Evening, lost my wallet. 1:17:35 2024.4.20 AM, nervousness, return with nothing 1:18:41 2024.4.22 AM, recovered wallet, 5 in 5 out 1:19:38 Mood: When is my 81st difficulty? 1:21:35 The effect that the twists and turns of the quest to get to Cannes have had on my personality

感谢豆瓣对《废话燃料》的支持！欢迎到豆瓣收听第14届北京国际电影节专题报道。 一段黑白光影，承载不朽灵魂。 北影节期间，我约到电影《乘船而去》的配乐作曲愚生一起走进影院，看了拍摄教授生前最后一场钢琴演奏的纪录片《坂本龙一：杰作》，内心不由得产生很多波澜，关于音乐、关于教授其人、关于这部作品给我们带来的力量。所以我们便约在了愚生老师的工作室里，伴着缕缕幽香，聊了聊我们眼中的坂本龙一，和他生命最后的舞动。 艺术千秋，人生朝露。 （也希望大家通过愚生老师的分享，更多地关注到像他这样富有才思的青年音乐人，趁着还有排片，多多去影院支持《乘船而去》～ 1:27 《乘船而去》的配乐风格：傍水而生，润物无声 2:40 《乘船而去》配乐创作的历程 4:00 找到“铃铛”的意象 5:32 《乘船而去》配乐和坂本龙一曲风的一些联结之处 6:48《Andata》（《离去》）纯钢琴版的变化 8:43 教授在《坂本龙一：杰作》中追求的创作方向与状态 10:17 纯钢琴版《东风》（《Tong Poo》）和YMO乐队演奏时期的版本相比，带来巨大的震撼 13:19 造成教授音乐极简风的转变背后的社会原因 14:50 音乐会纪录片的形式，延伸到对《泰勒·斯威夫特：时代巡回演唱会》的探讨 16:39 对《坂本龙一：杰作》影片本身的评价，精巧的设计 20:17 光影运动的想象，一日与永恒 22:27 全片少数几句台词的内容 23:49 本片独家收录的曲目整理，这几处不要睡！ 第2首《BB》（《贝纳尔多·贝托鲁奇》） 第5首《for Johann》（《致约翰》） 第15首《20180219 (w/prepared piano)》（《预制钢琴》） 24:23 领会到的禅意 25:01 演奏本片曲目初衷的猜想，为世人留下检索自己的线索 27:27 关于于特制字幕版本的讨论，字幕的作用：说明、拉回现实、代入...... 31:50 《遮蔽的天空》原著文字和音乐的情感叠加效果 35:21 首次听到教授作品的感受，以及他带来的影响 39:06 对教授创作不同阶段风格的评价 41:20 被海水泡过的钢琴，“特调钢琴”的科普 43:57 《战争上的快乐圣诞》和《末代皇帝》背后的故事，风华正茂的青年教授 49:26 由弥留之际的坂本龙一所思考到的哲学，流逝感，“贪生不怕死” 54:11 所谓大师 55:13 “在旅途戛然而止的瞬间里共通了悲欢”

感谢豆瓣对《废话燃料》的支持！欢迎到豆瓣收听第14届北京国际电影节专题报道。 对话陈冲的节目终于上线啦！在第14届北京国际电影节中，陈冲以北京策划·主题论坛嘉宾的身份参与一场论坛以及一场大师班活动。 在这期节目里，我试图提出女性视角的问题，而陈冲的回答逐渐转向个人的表演经历和愿望方向，让我听到了一些预期之外的声音。但我们之间还是存在着一些默契，比方说都高度称赞桑德拉·惠勒的表演。（还不了解这个演员的可以去听听我们之前在《坠落的审判》影评节目中对她的评价）。 录制过程中，因为一些意外，我收获了珍贵素材——陈冲导演的爆笑音频，陈冲究竟是被什么逗得前仰后合？这事说来话长...... 对话提纲：小陆 串台主播：《IF Radio》@徐惟 后期包装：废话队长CAPTAIN NONSENSE 0:55 陈冲参加第14届北京国际电影节身份 2:12 一个关于陈冲的录制彩蛋 3:31 陈冲对听友们的问候 3:57 由《坠落的审判》与《利益区域》注意到的演员桑德拉·惠勒 5:25 什么样的角色能够引起陈冲的兴趣？ 6:22 相比年轻时，现在的陈冲更努力，更用功 7:36 女演员处境在欧洲会比在好莱坞好一些吗？ 8:27 中国的演员体制和欧美的差异 10:07 渴望丰富性 11:56 出演《弟弟》时也在融入自己的生命经验 12:23 陈冲的状态总结 13:37 让陈冲爆笑的真正原因 15:34 值得深入展开的问题，陈冲的处境能否代表其他同龄的女演员？ 这期整个大福利！大家在豆瓣播客《废话燃料NonsenseFuel》转发本期节目，并关注我的豆瓣账号，我将会抽出一位听友，赠送陈冲亲笔签名的工作手卡（背面有我的字迹），已经塑封好了，非常值得珍藏哦～

感谢豆瓣对《废话燃料》的支持！欢迎到豆瓣收听第14届北京国际电影节专题报道。 跟往年单纯买票看片不同，今年我是以媒体身份参与到北影节当中。尽管我从小在这里长大，北影节的报道工作对我仍旧是新鲜的。 本期节目，就跟大家在北影节开幕式当天发生在我身上的一场奇遇，我是怎么以工作人员的视角打开了红毯开幕式，我看到了哪些不常为外人道的景象，包括但不限于：北影节的工作餐水平如何？北影节的承办方是如何完成工作的？ 作为本期的彩蛋，我还短暂地对话了一下携新作《红楼梦之金玉良缘》亮相的第五代导演胡玫，以及刚刚从香港回到北京担任创投单元评审的大鹏。 1:18 今年参加北影节的媒体身份 2:12 北影节媒体和展映部分泾渭分明的特殊性 3:58 预约媒体活动的反馈 5:17 峰回路转，身份的转变 6:17 清早出发，准备工作 9:53 抵达红毯区，严格的权限以及“贴标”的需求 12:21 和北京台同事聊到审核媒体活动的一些依据 14:02 进馆吃员工餐，伙食怎么样？ 16:13 正式工作开始，走红毯的动线 18:13 突发状况的涌入，解决问题 21:00 帮忙裁纸，压力山大 22:50 丰富的执行经验 23:30 回归媒体工作，群访区的拍摄 25:36 光鲜背后是汗水 26:11 彩蛋部分——胡玫与大鹏的语音 26:41 胡玫导演的18年创作之路，《红楼梦之金玉良缘》的创新 31:14 大鹏送给豆瓣网友的一句话

又一年的香港金像颁奖，又一年的失望。纵观近年来的颁奖结果，我们清楚地意识到金像奖评审机制授出大奖时，对于“论资排辈”“人情世故”种种场外因素恪守的根深蒂固。正因为如此，让更多人听到当下香港青年一代影人的心声才尤为迫切。思来想去，我决定放出在手机里珍藏很久的一段录音。 这段音频录制于2023年4月8日，我们对谈的嘉宾是《正义回廊》《死尸死时四十四》的导演何爵天。我跟他原是微信好友，之前有聊过在大陆策展放映《正义回廊》的想法，没想到我们会在香港的电影院碰面。那时的我忙于香港电影节的报道，他忙于《死尸》映期的谢票，但是缘分来到，我们还是在尖沙咀附近的一间餐厅约了午饭，席间畅聊了他连续拍摄的两部作品，以及一些关于香港电影现状的观察和思考。等我回到大陆整理完这期采访内容之后，刚好传来何爵天获得去年第41届金像奖“新晋导演”的奖项。 请允许我先道个歉，由于录制环境的嘈杂，导致这期节目的语音质量可能有诸多不如意之处。再加上我当时的工作习惯是以文字输出为主，所以也没有考虑太多听感相关的问题。但我相信在有心人耳中，它仍旧是珍贵的， 本期采访文章首发于@看电影看到死 金像奖得主何爵天：愤怒，是我创作的原点 ，推荐阅读 请往下拉，有惊喜⬇️ 1:42 文化差异带来的观影氛围不同 3:21 何爵天在北京待过，聊到翁子光的《风再起时 風再起時‎ 》 4:21 从《正义回廊》到《死尸》，严肃转向喜剧 8:22 拍商业片的收获，“计算”的经验 10:15 《死尸》的故事与《正义》一样，来自于真实事件 14:07 香港市民对类似案件的反应 15:24 租房问题，贯穿两部作品 18:22 荒谬感的发酵 22:15 普遍的自私心理 22:56 《死尸》中“临海峰”小区的住户和《正义》里的评审团相似 23:29 对《死尸》中各个角色设定的解读 36:04 世代矛盾，《正义》里的父子关系来自于何爵天的生活 38:06 年轻人和上一代如何和解？ 40:30 两部作品背靠背拍摄的经历 43:19 商业or艺术？永恒的困境 45:05 不一定非要拍自己的剧本 48:24 拍摄两部作品面临的挑战 53:20 《死尸》中和毛舜筠郑中基合作的感受 58:58 香港奇案电影的发展与承继 1:03:26 看不懂的电影就去豆瓣上看影评，“豆瓣写得比香港还厉害” 1:04:42 何爵天对日本新浪潮的崇拜 1:06:45 《正义》里时空交错的处理 1:08:48 面对差评的心情 1:12:43 何爵天对沈腾的喜爱 1:15:18 目前香港本土最卖座电影，基本都是出自新导演 1:15:47 与剪辑大师 胡大为 David Wu 的惊喜合作 1:19:21 催动何爵天创作的核心：愤怒 大家在豆瓣播客《废话燃料NonsenseFuel》转发本期节目，并关注我的豆瓣账号，我将会抽出一位听友，送出导演亲手交给我的《死尸死时四十四》影片logo钥匙扣，以及电影中故事发生地“临海峰小区”的限量版住户证 住户证背面有导演亲笔签名 打开扫码好像还有活动，我也没激活过，如果活动还有效就归你啦！ Shownotes in English: Another year of the Hong Kong Awards, another year of disappointment. Looking at the results of the awards in recent years, we clearly realize that the judging mechanism of the Hong Kong Film Awards is deeply rooted in "seniority", "human feelings" and other off-site factors when awarding the prizes. It is precisely for this reason that the voices of Hong Kong's young generation of filmmakers should be heard by a wider audience. After some thought, I decided to play a recording that I have kept in my cell phone for a long time. This audio recording was made on April 8, 2023, and our guest speaker was the director of The Sparring Partner and Over My Dead Body，Cheuk-tin Ho. He and I were WeChat friends, and we had talked about the idea of curating a screening of The Sparring Partner in the mainland, but we never thought we would meet in a Hong Kong movie theater. At the time, I was busy covering the Hong Kong Film Festival, and he was busy thanking tickets for the screening of Over My Dead Body, but as fate would have it, we met for lunch at a restaurant near Tsim Sha Tsui, where we chatted about his two consecutive films, as well as some of his observations and reflections on the current state of Hong Kong cinema. After I returned to the mainland to finish the interview, I heard that Cheuk-tin Ho had won the "New Director" award at last year's 41st Academy Awards. Please allow me to apologize in advance. Due to the noisy recording environment, the audio quality of this program may not be as good as I would have liked. I was used to working with text output, so I didn't give much thought to the listening experience. But I'm sure it's still precious to the ears of those who care to listen to. This interview was first published on @ MOVIE-ING 'Hong Kong Film Awards winner Cheuk-tin Ho: Anger, the origin of my creativity' , Recommended Reading 1:42 Different movie-going atmosphere due to cultural differences 3:21Cheuk-tin Ho spent time in Beijing and talked about Philip Yung's Where the Wind Blows 4:21 From The Sparring Partner to Over My Dead Body, seriousness turns to comedy 8:22 The rewards of making a commercial movie, the experience of "calculation 10:15 The story of ‘Over My Dead Body’, like that of ‘The Sparring Partner’, is based on real-life events 14:07 Hong Kong people's reaction to similar cases 15:24 The issue of renting a room, which runs through both works 18:22 The festering sense of absurdity 22:15 The prevailing selfishness 22:56 Similarities between the tenants of the "Sea Crest" neighborhood in ‘Over My Dead Body’ and the jury in ‘The Sparring Partner’ 23:29 Interpretation of characterizations in ‘Over My Dead Body’ 36:04 Generational conflict, the father-son relationship in ‘The Sparring Partner’ comes from the life of Cheuk-tin Ho 38:06 How do young people and older generations reconcile? 40:30 The experience of shooting two productions back to back 43:19 Business or art? The eternal dilemma 45:05 You don't have to shoot your own scripts 48:24 The challenges of filming two productions 53:20 What it's like to work with Teresa Mo and Ronald Cheng 58:58 The development and inheritance of Hong Kong's mystery films

讲真，第一遍看完宫崎骏新作《你想活出怎样的人生》的时候，我没敢对这部片子的内地票房抱太大期待。尽管制片人铃木敏夫 声称在创作本片的时候没有刻意搞得很晦涩，但宫崎骏却在当中倾注了甚于他此前所有作品的感情、记忆，与自我的肖像，使之变得尤为私人化。这份独家记忆，能否唤起大家的共情？ 好在结果让人宽慰。在今年的清明档期里，《人生》以较大优势领跑，并刷新了多项观影记录。借此机会，我特意邀请到吉卜力工作室作品的资深爱好者、影评人@陆支羽 ，一起试着解读下这部复杂而又真挚的动画电影。 （拉到最后，有惊喜⬇️） 1:08 《人生》的引进成本超高，但目前已经回本 6:30 借由去年9月份的一次旅行经历，介绍《人生》在日本本土上映两个月之后的反响情况 9:05 《人生》击败《蜘蛛侠：纵横宇宙》拿到奥斯卡最佳动画长片的评述 11:55 十年前去吉卜力美术馆游玩的回忆 14:46 影片中的13块积木，代表宫崎骏独立执导的13部长片 21:57 对《人生》整体氛围感的理解，高畑勋 的影响 24:19 宫崎骏在《人生》中多次运用隐喻的原因 25:34 对“哇啦哇啦”的解读 27:47 片名与同名小说的渊源 29:32 两个母亲的形象 34:29 宫崎骏对飞行的狂热，鸟类，“苍鹭男”代表铃木敏夫 35:27 对大王鹦鹉的理解 36:36 木质v.s.石质，东方v.s.西方 38:36 从宫崎骏最近十年经历的老友消逝为起点的创作 40:51 两个对宫崎骏而言非常重要的人：吉卜力巨头高畑勋、色彩设计师保田道世 42:58 “雾子”对应保田道世，“太舅公”对应高畑勋 44:05 “火美”对应宫崎骏母亲美子 45:03 “苍鹭”对应铃木敏夫，谐音“欺诈男”的寓意 45:58 “塔”对应吉卜力工作室 47:11 原型之下，剧情中混杂着宫崎骏诸多的情绪碎片 48:03 夫娶亡妻姊妹的“顺缘婚”历史背景 49:39 大王鹦鹉作为强力的执行者，形象不全是负面的 51:58 关于大王的别样解读 52:51 《人生》中令人印象深刻的“宫崎骏时刻” 55:28 宫崎骏作品一以贯之的优势：色彩+技术 55:54 人物的形态和动态 57:54 对于刻画步态的卓越追求 58:28 开场奔跑镜头带来的惊艳 1:00:17 根据记忆创作的不稳定性 1:01:03 塞入主题的庞杂 1:05:10 吉卜力的暗面，死亡的想象 1:07:19 拍摄《人生》的意义，重新出发的宫崎骏 1:08:04 与下一代人的对话 BGM🎵： 米津玄師 (よねづ けんし)-地球儀 - Spinning Globe (地球仪) 久石让-最後のほほえみ 推荐观看： 📖《吉卜力的天才们》 🎬《职业人的作风：与宫崎骏和吉卜力工作室的2399天》 📖《出發點》 📖《你想活出怎样的人生》 感谢国内发行方的支持，给听友们带来了一点小福利！大家在豆瓣播客《废话燃料NonsenseFuel》转发本期节目，并关注我的豆瓣账号，我将会抽出一位听友送出1张影片的IMAX正版海报，1张官方带塑封的海报，以及1本超限量特典画集～感兴趣的朋友不要错过，祝大家好运啦！ 3件周边示意图，仔细看第二张海报图上真人的脚尖朝向，在三扇门所代表的三种人生中，他已经做出了自己的选择 Shownotes in English: To be honest, after watching Hayao Miyazaki's new film "The Boy and the Heron" for the first time, I didn't dare to expect too much from this movie at the mainland box office. Although producer Toshio Suzuki claimed that he didn't intentionally make this film obscure, Miyazaki has poured more feelings, memories, and self-portraits into this film than in any of his previous works, making it particularly personal. Can this exclusive memory evoke empathy? The good news is that the results are reassuring. In this year's Ching Ming Festival, Life led by a wide margin and set a number of viewing records. I'd like to take this opportunity to invite @Lu Zhiyu, a veteran of Studio Ghibli's work and a film critic, to try to interpret this complex and sincere animated movie. 1:08 "The Boy and the Heron" was super expensive to bring in, but has now paid for itself 6:30 Drawing on a travel experience from last September, a look at the response to "The Boy and the Heron" two months after its release in its native Japan 9:05 Commentary on Life beating out ‘Spider-Man: Across the Spider-Verse’ for the Oscar for best animated feature film 11:55 Memories of a trip to the Ghibli Museum of Art ten years ago 14:46 The 13 blocks in the movie represent the 13 feature films directed by Hayao Miyazaki independently 21:57 Understanding of the overall atmosphere of Life, Takahata's influence 24:19 Reasons for Miyazaki's repeated use of metaphors in Life 25:34 Interpretation of "wah-la-wah-la" 27:47 The origin of the title and the novel of the same name 29:32 The image of two mothers 34:29 Hayao Miyazaki's passion for flying, birds, Toshio Suzuki as "Heron Man" 35:27 Understanding of the king parrot 36:36 Wood v.s. stone, East v.s. West 38:36 Creative work starting from Miyazaki's experience in the last decade with the death of his old friend 40:51 Two people who are very important to Miyazaki: Ghibli giant Isao Takahata, color designer Hoda Michishige 42:58 "Kiriko" corresponds to Michishige Hoda, "Uncle Tai" corresponds to Takahata 44:05 "Hiromi" corresponds to Hayao Miyazaki's mother, Miko. 45:03 "Heron" corresponds to Toshio Suzuki, which means "fraudulent man". 45:58 "Tower" corresponds to Studio Ghibli 47:11 Under the prototype, the plot is mixed with many emotional fragments of Hayao Miyazaki 48:03 Historical background of "Shun Yuan Marriage" where a husband marries his deceased wife's sister 49:39 Maharaja's parrot as a powerful enforcer, not all of it negative 51:58 Different interpretations of the Maharaja 52:51 Impressive "Miyazaki moments" in Life 55:28 A consistent strength of Miyazaki's work: color + technique 55:54 Form and dynamics of characters 57:54 The pursuit of excellence in portraying gait 58:28 Amazing opening running shot 1:00:17 The instability of working from memory 1:01:03 The pomp and circumstance of cramming the subject matter in 1:05:10 The dark side of Ghibli, the imagery of death 1:07:19 The significance of making "The Boy and the Heron", Miyazaki's reboot 1:08:04 Conversation with the next generation

自戛纳首映以来过了10个月的时间，终于等到《坠落的审判》在国内院线上映啦！遥想当时前线记者@二十二岛主 把这部片子吹得天花乱坠，我听得抓心挠肝的场景，录这期必须把他请回来，好好回顾下《坠落的审判》的戛纳花路，以及大银幕多刷之后，我们对影片产生的新的认识。 借由导演茹斯汀·特里耶来到中国进行交流时提出的第一个问题，我也很好奇，在大家眼中，桑德拉究竟有罪吗？本期节目里我们试图提出一个新的观点，如果女主角“桑德拉”是有罪的，那么我们将如何看待这部电影？ 1:45 戛纳前缘篇·为什么在去年戛纳还没颁奖就认定《坠落的审判》能摘得金棕榈？ 3:46 女主演桑德拉·惠勒主演的两部作品在去年戛纳都获得很好的成绩 5:43 跟导演前作《西比勒 Sibyl‎》相比，《坠落》的长足进步 8:40 茹斯汀·特里耶的个人魅力 9:17 现实中茹斯汀与伴侣的关系，和电影中呈现的有些类似 11:00 两遍观影的不同关注点 14:36 国内重逢篇·从视听和剧作层面“剖析”《坠落的审判》 15:16 镜头语言风格：准确、凝练、有力 16:27 “无招胜有招”，最高境界 16:42 2部含有争吵剧情的电影《婚姻故事》《乌海》概述 20:30 近年来多部庭审戏电影的情况，分享与《拯救嫌疑人》导演张末交流庭审戏拍摄的感受 24:00 声音在电影中作为独立存在的意义，侵略性的增强 27:56 法庭画面中桑德拉、控方律师和丹尼尔之间构成的三角形，力量的传导 29:07 丹尼尔在证人席上的画面，控方律师搅动着画面边沿 30:37 “桑德拉”是一个怎样的女性形象？ 34:28 “桑德拉”的复杂性 40:21 有趣的场外信息：版权方做的票根相当有心，直接暗示了影片中的家庭关系 42:46 观众的位置，审判“桑德拉”是不是完美受害人 46:44 关于丈夫死因的讨论 53:40 互相伤害的根源：“灾后重建”的不同方式 57:18 亲密关系里，真的有谁对谁错吗？ 1:00:06 《坠落》来到国内后会改变什么吗？会被什么改变吗？ Shownotes in English: It's been 10 months since its premiere in Cannes, and we're finally waiting for Anatomy of a Fall to be released in domestic theaters! Thinking back to the time when frontline reporter @Island 22 blew this movie out of the water and I was scratching my head, I had to bring him back for this issue to review the Cannes journey of the film, as well as the new understanding of the movie that has been created after multiple experiences on the big screen. Drawing on the first question posed by director Justine Triet when she came to China for an exchange, I'm also curious as to whether Sandra is actually guilty in everyone's eyes. In this program we try to put forward a new point of view, if the heroine "Sandra" is guilty, then how do we look at this movie? 1:45 Cannes prequel - Why was it decided that 'Anatomy of a Fall ' would win the Palme d'Or before the awards were even handed out at Cannes last year? 3:46 Both films starring Sandra Hüller did well at Cannes last year. 5:43 A long way from the director's previous film, Sibyl 8:40 Justine Triet's personal charm 9:17 The reality of Justine's relationship with her partner is somewhat similar to that presented in the movie 11:00 The different concerns of the two viewings of the movie 14:36 The Domestic Reunion - "Analyzing" Anatomy of a Fall on an audiovisual and dramatic level 15:16 Camera language style: precise, condensed and powerful 16:27 "No trick is better than a trick", the highest state of mind 16:42 Overview of 2 movies containing quarrelsome plots ‘Marriage Story’and ‘Wuhai’ 20:30 A number of courtroom drama movies in recent years, sharing the feelings of courtroom drama shooting with Zhang Mo, director of Last Suspect 24:00 The significance of sound as an independent existence in the movie, the increase of aggression 27:56 The triangle formed between Sandra, the prosecution lawyer and Daniel in the courtroom scene, the transmission of power 29:07 Frame of Daniel on the witness stand, prosecution attorney stirring the edges of the frame 30:37 What kind of woman is "Sandra"? 34:28 The complexity of Sandra. 40:21 Interesting off-screen information: the ticket stubs made by the copyright holders are quite intentional and directly imply the family relationships in the movie. 42:46 The position of the audience, the trial of "Sandra" as the perfect victim. 46:44 Discussion of husband's death 53:40 Roots of mutual victimization: different ways to "rebuild after the disaster". 57:18 Is there really a right and a wrong in intimate relationships? 1:00:06 Will Anatomy of a Fall change anything when it comes to China? Will it be changed by anything?