对话威尼斯电影节前艺术总监马可·穆勒：有的电影拒绝后得向意大利官员解释原因，有的电影邀进主竞赛得跟导演聊剪辑
废话燃料NonsenseFuel
本期节目感谢豆瓣播客大力支持！欢迎大家在豆瓣播客《废话燃料NonsenseFuel》词条下收听本期节目，属于豆瓣影迷们的专属福利请往下翻⬇️
马可·穆勒，提到这个名字的时候大家总是第一时间联想到他与中国电影的联系，对中国电影史发展的推动，然而让我觉得比较疑惑的是，似乎很少有国内媒体在访谈中关注到马可先生在世界电影节上所担任最为重要的一项工作：威尼斯电影节的艺术总监。或许，关于威尼斯电影节的讨论，只有在地讨论才更具象，更有价值。
所以几天前在威尼斯电影宫附近，我约见马可·穆勒先生进行了这场一个多小时的访谈。哪怕已经卸任，马可先生在威尼斯的工作依旧很是繁忙。
本期节目，我们聊到了早年马主席（国内观众亲切的“误称”）早年与中国电影的渊源、艺术总监所做的具体工作，以及影迷朋友们都很关心的，关于主竞赛单元影片选择的各种秘辛。可以说，这是近年来华文媒体与电影节权力中心比较珍贵的一场对话了。通过马主席的眼睛，我们也能看到近几年发生在不少国内青年导演身上的困局。
希望本期节目能够让大家更深入地了解到威尼斯电影节，还有其中的工作情况。
2:07 马可·穆勒看的第一本中文书
6:51 来到中国看的最早一批电影
11:48 三位姓“谢”的导演开启了马主席推广中国电影之路
14:55 时任艺术总监卡洛·利扎尼 发掘马主席
21:21 从属于威尼斯双年展的威尼斯电影节
21:49 为什么双年展成立很久才有电影节
24:01 双年展主席和电影节艺术总监各自负责的工作
26:20 创立“威尼斯日”单元的初衷
27:14 成为艺术总监所需要的特质
29:53 坐在最后一排和选片委员会一起看片
32:15 与发行公司的冲突
36:53 拒绝某部影片后产生的反应
39:02 惊喜电影，国产片和局的关系
40:37 现在威尼斯对中国电影有偏见
43:59 关于威尼斯电影节现状的讨论
49:18 为什么一批国内青年导演前作在三大亮相，之后就回不去了？
51:30 怎么跟戛纳抢片子
55:05 中国电影节展跟世界范围内的差距
Shownotes in English:
This episode is made possible thanks to the generous support of DOUBAN.COM! Welcome to this episode of the Douban Podcast under the term NonsenseFuel!
Marco Mueller, when mentioning this name, we always associate it with his connection with Chinese cinema and his promotion of the development of Chinese cinema history. However, what makes me feel puzzled is that few domestic media seem to pay attention to Mr. Marco's most important job in the world's cinema festivals in their interviews: the Artistic Director of the Venice Film Festival. Perhaps the discussion about the Venice Film Festival can only be more concrete and valuable if it is done on the site.
So a few days ago, near the Palazzo Cinematografico in Venice, I met Mr. Marco Müller for an hour-long interview. Even though he has stepped down, Mr. Marco is still very busy in Venice.
In this program, we talked about Mr. Marco's relationship with Chinese cinema in the early years, the specific work done by the Artistic Director, as well as the secrets of choosing the films for Competition, which are of great concern to movie fans. It can be said that this is one of the more precious conversations between the Chinese media and the power center of the festival in recent years. Through Chairman Ma's eyes, we can also see the predicament that has happened to many young domestic directors in recent years.
I hope this installment will give you a deeper understanding of the Venice Film Festival and how it works.
2:07 The first Chinese book read by Marco Muller
6:51 The first films he came to China to see
11:48 Three directors with the surname “Xie” started President Ma's journey to promote Chinese cinema
14:55 The then Artistic Director Carlo Lizani discovers President Ma
21:21 The Venice Film Festival, which belongs to the Biennale di Venezia
21:49 Why was the festival created so long after the Biennale was established? :49 Why the festival came into being so long after the Biennale was founded
24:01 What the Biennale president and the festival's artistic director are responsible for
26:20 The creation of the Venice Days section
27:14 What it takes to be an artistic director
29:53 Sitting in the last row of the selection committee
32:15 Conflicts with the distribution company
36:53 Reactions after rejecting a film
39:02 Surprise films, the relationship between Chinese films and the Board
40:37 There is now a bias against Chinese films in Venice
43:59 Discussion on the current state of the Venice Film Festival
49:18 Why is it that a group of young Chinese directors whose first films were presented in the Big Three can't come back after that?
51:30 How to steal films from Cannes
55:05 The gap between Chinese film festivals and the world wide web
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