介绍： I first went to Cannes with a film, called Arya, produced by a great maverick called Don Boyd. And he asked, I want to say, 10 directors, including jealous goddamn Bruce Beresford, Robert Altman, and Ken Russell, and all sorts of people, and my great friend Derek Jarman, to make short films of arias from thei...

介绍： I first went to Cannes with a film, called Arya, produced by a great maverick called Don Boyd. And he asked, I want to say, 10 directors, including jealous goddamn Bruce Beresford, Robert Altman, and Ken Russell, and all sorts of people, and my great friend Derek Jarman, to make short films of arias from their favorite operas. 
我第一次去戛纳，是带着一部名为《Arya》的影片。该片由特立独行的优秀制片人唐·博伊德制作。他邀请了十位导演，包括布鲁斯·贝雷斯福德、罗伯特·奥特曼、肯·拉塞尔等一众影人，还有我的挚友德里克·贾曼，让大家各自根据自己最爱的歌剧咏叹调拍摄短片。
And we all went to Cannes. It was the maddest circus. I mean, a bunch of filmmakers you wouldn't imagine normally in each other's orbit, but we were like a gang. We kind of marauded around Cannes. Even though we all became great friends, everybody was very disparaging about everybody else's film.
我们一行人齐聚戛纳，场面疯狂又热闹。这群平日里几乎毫无交集的电影人，当时像一个小团体一样在戛纳四处奔走。虽然我们最后都成了挚友，但当时每个人都会毫不客气地吐槽彼此的作品。
But we made lasting friendships from that event, which I think is what happens in any good film festival. It's not actually about the films, it's about the friendships.
但这场盛会让我们收获了长久真挚的友谊。我认为所有优质电影节的真谛向来如此，核心从来不是影片本身，而是人与人缔结的情谊。
Broken Flowers was the first film I made with Jim Jamosh and with Bill Murray. I remember him telling us this story on the way up the red carpet that the last time he'd been in Cannes with a film, just when the credits were rolling, somebody yelled down from the top balcony, "It's shit!" And we were prepared for this to happen again, and I'm happy to say that it didn't.
《破碎之花》是我第一次与吉姆·贾木许、比尔·默瑞合作的影片。我记得走红毯时，比尔跟我们分享过一件往事：他上次携影片亮相戛纳，片尾字幕刚滚动起来，顶楼看台就有人大声差评。我们这次也做好了遭遇恶评的准备，所幸最后并没有发生这样的事。
But yeah, you have to have your, what they call your big boy pants on when you go to Cannes, because people don't hold back.
但去戛纳参展必须做好十足的心理准备，这里的观众和影评人向来直言不讳、毫不留情。
We went with Okja, Bong Jung Ho. And we were one of the two films that year that had been made and presented by Netflix. The Mayavich Story is also Noah Baumbach's film. We were the first Netflix films to be there in competition.
当年我们跟着奉俊昊带着《玉子》参展，那一年入围主竞赛单元、由网飞出品的影片仅有两部，一部是我们的《玉子》，另一部是诺亚·鲍姆巴赫的作品，这也是网飞影片首次入围戛纳主竞赛单元。
And we were so grateful to Netflix, having made our films at a time when all the other studios said no, we don't want you to do what you want to do. But Netflix said, "Sure, go ahead, here's a blank check, more or less."
我们由衷感激网飞。在当时所有传统制片公司都束缚创作者、拒绝让我们自由创作的大环境下，只有网飞鼎力支持，几乎无条件提供资金，让我们放手创作。
So we were very happy to be there, and there became this wonderful ongoing debate about the value of that particular studio in terms of big screen filmmaking. But it's a great debate, and long may it last.
所以我们十分荣幸能够参展。当时业内掀起了一场热烈且持久的讨论，围绕流媒体制片公司对院线电影行业的价值展开。这是一场极具意义的探讨，也希望这场讨论能够一直持续下去。
I'm taking very proudly to Cannes the epic film Memoria, the Wes Anderson film The French Dispatch, and Jana Hogg's second souvenir film Souvenir II. And Cannes is very, very kindly also making a screening of The Souvenir One, so both of those films are going to be there.
今年我满怀自豪地带三部作品奔赴戛纳：长篇影片《记忆》、韦斯·安德森的《法兰西特派》，以及乔安娜·霍格的第二部作品《纪念品2》。戛纳电影节还特意加映了《纪念品1》，因此这两部系列影片将一同亮相影展。
Joanna's an incredibly dear and old friend of mine, and my daughter is in both of them, so it's going to be a family affair.
乔安娜是我相交多年的挚友，我的女儿参演了这两部影片，所以这次的戛纳之行，对我而言更是一场温馨的家庭盛会。
Well, working with Wes Anderson is, you know, one of the great privileges of not only of my life, but I would say pretty much anybody who works with him. People talk about film families. I'm one who talks all the time about film families, and I've been so blessed to find family after family.
能和韦斯·安德森合作，不仅是我此生莫大的荣幸，我相信所有与他共事过的人都会有同感。人们常说电影圈如同大家庭，我也一直对此深信不疑，我何其幸运，在行业中收获了一个又一个温暖的团队。
Wes really drives into the culture, even to the fact that we don't, you know, use all the sort of industrial paraphernalia that people, even people who don't make films, know about, you know, trailers and all sorts of disparate hotels.
他的剧组风格独树一帜，彻底摒弃了大众熟知的影视行业繁琐工业套路，没有专属演员休息拖车，也不会让剧组人员分散入住不同酒店。
We all stay in one hotel wherever we're making the film, we all dine together every night, we all dress in our rooms, and we usually go to set on a bicycle or in a golf cart.
无论在哪里取景拍摄，全体剧组人员都同住一家酒店、每晚共同用餐。大家在房间自行换装，日常骑单车、坐高尔夫球车前往片场。
It’s very clever producing. You cut down on all those costs, and you make a real holiday out of it for everybody.
这种制片模式十分巧妙，既削减了各类额外开支，也让每一位剧组人员的工作氛围轻松惬意，如同度假一般。
Of course, it helps that not only are there very often the same faces that we've all grown to love, but there's usually mixed in some new ones, so it's like an ever-growing garden.
剧组里既有我们熟知且喜爱的老搭档，也会不断吸纳新鲜血液，就像一座生生不息、持续繁茂的花园。
I felt...I have to say, with all the films we're going to be presenting this year, that last year was the perfect year for it, but this year is even better. This is a film that's about a sort of love affair between American letters and Europe, and a kind of literary cultural consciousness that's so valuable.
说实话，对比我们今年所有的参展影片，去年的作品已然足够出色，但今年的作品更为出彩。《法兰西特派》讲述了美国文学与欧洲大陆的浪漫羁绊，诠释了一种极为珍贵的文学与文化精神内核。
Last year felt particularly valuable, but I think, with the kind of distances we're all living with now, it's going to feel even more amplified now. So yeah, we're really proud to be taking The French Dispatch to Cannes.
去年它的价值已然凸显，而在当下人与人、地域与地域隔阂渐生的时代，这部影片的意义愈发深刻。我们无比自豪能携《法兰西特派》亮相戛纳。