1、中文：寒冷的纽约，凌晨两点

席德·甘尼斯*

此刻，在纽约正是凌晨两点，一个寒冷的——简直是冰冷刺骨的3 月的深夜。我什么都不想做了，我只想赶紧回到我温暖的家中。但是，当我坐进小房车里读到柳城先生《电影三字经》的时候，我的心被它深深地打动了。外面虽冷，我还是得出去走一走，活动活动，只有这样，才能把我的思绪从那并不太厚的书稿中带回到现实中来。

对我而言，今晚最美妙的事情莫过于读到柳城先生的《电影三字经》了。

我们常常想，制作一部电影，都有些什么东西是最重要的呢？

答案当然是有的，可我们却往往无法找到它的踪影。

这部作品给了我太大的帮助，我这样说一点也不过分。我确信，每个电影人——不管是写作的还是拍摄的，也不管是幕前的还是幕后的，大家都能从柳城先生这部那么简洁那么充满智慧，同时又那么富含深厚底蕴的书里找到灵感。

柳城先生，我非常感谢你，在寒夜里，你鼓舞我能够继续去探究艺术。我希望我能够在你的启示下找到真理，并把它放进我的电影中。

* 美国电影艺术与科学学院前院长，美国奥斯卡电影节主席

2、英文：New York, a Very Cold Night

Sid Ganis*

Right now as I write this, I am on location in New York on a cold — very cold — March night. It’s 2:00am and all I want to do is go home! And then, as I sit in my little shared trailer, I read the work of Liu Cheng and I am inspired — really inspired — to go back out there and do what it takes to bring our vision to reality.

Nothing can be more helpful to me tonight than to read in the very first verse of Liu Cheng’s Three-Character Primer of Film:

To make a film, what is the key?

The path’s laid down, but the path runs free.

It’s helping me right now in the most practical way. Every film craftsman, from behind the camera to in front of the camera, will find inspiration in the simplicity and wisdom of Liu Cheng’s writing — and its classical truth.

Thank you, Liu Cheng. You have gotten me through another night of searching for — and hopefully finding — our truths, and putting it on film.

*President Emeritus, American Academy of Motion Picture Arts and Sciences

下期预告丨柳城电影三字经巨著连载三丨李政道/张艺谋/汤一介/乐黛云/陈凯歌评语丨敬请关注！

附 连载一：引子

印度之行偶遇《電影的哲學》

張琴 西班牙

2019年印度之行，遇到令人感動的人和事真不少，其中偶遇遼寧出版集團北京中心歐劍總編，事後獲得柳城老師餽贈《電影的哲學》範本，這一切，源自靈性所賜。

10月6日午時，詩歌大會落下帷幕，世界各國詩人陸續離開酒店。傍晚時分，夕陽覆蓋著印度洋孟加拉灣畔的巴布內斯瓦爾城，天空已被抹成了橘色。我們靜候在賓館房間休息，預備第二天午間飛往德里。走出電梯，遇見一中年同胞從外面花園入大廳，在彼此行禮後，巧合從樓梯走下來一位長者。他就是《電影的哲學》作者柳城老師。《電影的哲學》又為《電影三字經》，全書共三百字，被譯為65種語言。書中有世界各國80多位著名電影人留下的高度評論。出版社明知沒有受眾，成為不了暢銷書，他們還是堅持完成出版！《電影三字經》類似《詩經》的現代版，這是一部弘揚中國傳統文化、涵蓋了一個電影人所要歷練的心理路程。也就是說從劇文本策劃運作，再由導演完整影像出品搬上銀幕。本書傾注了作者的心血，花了整整16年才得以問世。柳城老師邊打包擔心我們會放棄，不能把這本厚重的書帶回國。我告訴柳城老師，即便扔掉購物或衣服，我們一定把書背回國。手捧四公斤重、上千頁的《電影的哲學》，似乎接手一粒火種。在交流中，得知當年， 柳城老師頂著壓力推薦，才有了陳凱歌的“霸王別姬”，才有了中國電影走近奧斯卡，中國電影在世界的地位。今天，沒有歐劍總編的人文情懷，也不會有《電影的哲學》一書出版。

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(2019年10月7日於巴布內斯瓦爾機場)

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《电影的哲学》节选 “电影三字经"自序

作者：柳城

中文：自序

《电影三字经》这首诗的初稿是2005年写的。想了几年，写了几天，又改了十几年。从三百多字改到四百多字，后又改到八百多字，最后改成九百字，这才打住不动了。最初是把它印了几张纸，像传单似的在外面传，后来才正式发表。说实话，我至今怀念的还是“传单”的那些日子，好像在微风中飘来飘去，又好像在小雨里，一会儿淋了这儿，一会儿湿了那儿，七嘴八舌，你抄我抄，你改我改⋯⋯一发表，好像一切都被凝固住了。可是我又愿意把它编成一本书，这是因为我太尊敬或是从隔壁或是从太遥远的地方发过来的那么多的评说和序言，我觉得我必须把它们念给大家听。再有就是因为我太敬仰欧阳中石先生和苏士澍先生等大书法家，他们为该书写的那么多的字，真可谓字字力透纸背，神采飞扬，动静间尽映出东方文化之真之美。我觉得必须把它们展现给每位读书人。

四年前李政道先生从纽约发来文稿，三年前联合国教科文组织总干事助理汉斯博士从巴黎发来文稿，以及后来中国科学院嫦娥工程首席科学家欧阳自远院士，著名数学家严加安院士，著名物理学家何祚庥院士发来文稿，再后来广电部电影局张宏森局长发来文稿，以及最近广电部电视剧司毛羽司长发来文稿，特别是北京大学中文系主任陈晓明教授刚刚发来文稿，这似乎是一次又一次来自四面八方的指令，告诉我别在缅怀过去中陶醉，而要继续往前迈步。

说实话，对于我来说这确实很难，我说为这九百个字改了十几年丝毫没有夸张，这是因为“三字经”为古诗文体，电影是现代诗体，欲以古诗解读这首最现代的诗，抑或欲以新歌泥古唱，确实太费力气，更甚者，虽“美哉四处”但“求之八难”。因此，只有认真和勤奋。凡知我者大约无人不晓，我从小到老，最致命的问题就是这两点。但不知为什么却如胶似漆般和这九百个字纠缠得没完没了。

再就是在电影行当里，我绕的路比较远，也比较迂回曲折，做过的行当也比较拉杂；在电影行当外，我走的路更是弯弯曲曲，越过不少大山丘陵，飘过不少河流大海。行里行外对于此九百字的无限赞誉都要感恩那个和这个多彩的时代。

最后的一次修改我体会最深的有十二个字，前四个字是“电影即人”，它包含三层意思。“电影即人”的第一层意思用大白话来说。就是什么样的人写什么样的电影，拍什么样的电影；用书面语来说，就是持何种文化的人写何种文化的电影、拍何种文化的电影；用现代哲学一点儿的话来说，就是何种文化语境中的人造就何种文化的电影；用古典一点儿儒家的话来说，就可概括为，何以道为何以文者。“电影即人”的第二层意思是，电影是写人的，电影是拍人的，应真实地描述人的社会存在、展现人和人之间的生存关系、探索人的心灵、揭示复杂的人性变化。“电影即人”的再一层意思是，电影的观赏魅力和它的娱乐性质均植根于电影中的形象魅力即人的魅力。再四个字是“电影如诗”，说得诗意一点，就是指：如诗般的激情和思想穿透力，如诗般的凝练和艺术张力，还有如诗的意境和韵律。最后四个字是“诗以致用”。中国古诗十分讲究此意，大概如大诗人陆游所说“纸上得来终觉浅，绝知此事要躬行”；西方大诗人沙士比亚也曾借哈姆雷特之口，以美丽的诗句教授演员在舞台上应该如何表演。我在此“三字经”一诗中，虽有怀旧之情，惜玉之意，但更多探求的是它的致用特征。

有人会说，照你这么整，是不是有点太玄了，这电影还能拍吗？我要告诉你的是，等着你拍起来，拍多了，你自然会明白其中的道理。

古人云：“大道至简，知易行难。”

我在电影的海洋里游了大半辈子泳，但我的问题是基本上不知道哪深哪浅，不太管哪凉哪热，想怎么游就怎么游。最麻烦的是不注意去辨认东南西北，游哪算哪。顺水的时候呢，什么也不记得就过去了，等呛水的时候才明白很多东西，才有了点儿所谓思考，对人生，对社会，还有对艺术什么的。后来，我就常常把这些星星点点告诉朋友们，他们说，你把它写出来吧。有一天早晨，看着窗外耀眼的阳光，心一冲动，于是就写了。

从当初那张传单到现在这本书，我时常想起我在里面游泳的那片海洋。每当此时，心总会有一种隐隐的痛。我相信，凡是在那里折腾过的人都会有这种感觉。这大概是因为她给我的太多，我给她的太少，她期望我做的太多，我做出来的太少。

说起来，还真是挺对不起电影海洋的那片蓝色。

2、英文：By the Writer Himself

Liu Cheng

The Three-Character Primer of Film was first written in 2005. It had been germinating for several years, completed in a few days, and revised over several more years. It had begun with just 300 words, then 400, then 800, and finally 900. Before publication, it had been printed as leaflets, and distributed about like flyers at first. I still recall those days with nostalgia. I imagine them being tossed about, sometimes fluttering in the wind, sometimes pelted by rain. They had been grabbed by eager hands, argued over, copied, rewritten. With publication, however, all these activities came to a stop, frozen in midair. On the other hand, I do like the idea of publishing in a book form. That is because I have deep respect for all the commentaries far and wide, from my next-door neighbors or from the other side of the world and I want to share them with readers. What’s more, I just have the deepest respect for Mr. Ouyang Zhongshi and Mr. Su Shishu. They have gone lengths talking about this book, with precise and powerful words, glittering and sparkling the beauty of oriental culture. I have to introduce this book to all the people who love to read.

It’s an honor to receive so many comments, including those sent by Tsung-Dao Lee from New York four years ago, by Dr. Hans, the assistant to the director-general from Paris three years ago, and then by academician Ouyang Ziyuan, the chief scientist of the Chang’e Project under CAS, academician and famous mathematician, Yan Jia’an, academician and famous physicist He Zuoxiu, and more recently by Zhang Hongsen, the director of film bureau, Mao Yu, the director of television division, and especially the one just sent to me by professor Chen Xiaoming, the dean of the Department of Chinese language and Literature, but at the same time, it urges me to continue to make progress instead of stopping there.

To be honest, it was indeed a hard job on my part, and I was not exaggerating when I said that I spent more than ten years in revising these nine hundred characters, because it did require lots of efforts to explain film, the most modern poetry, using the classical “three-character” form poem, just like an old saying goes: The stunning beauty all over, but the way to pursue it takes forever. It requires seriousness and diligence, the two qualities, as anyone know me well would know that I lack most. But somehow I was so deeply attached to these nine hundred characters.

Besides, I learned film in the hard way in all those varied trades I had engaged in, and my life beyond film was even more complicated, as I had crossed through numerous mountains and rivers. In the comments from both insiders and outsiders, many were grateful for the colorful era, then and now.

During this draft of revision, the most important notions are: first, “films are about people”, which has three implications: firstly, filmmakers determine what kind of film they’ll make; secondly, films deal with people and should faithfully describe their social existence, show their relationships, explore their souls, and reveal the change of complicated humanity; and lastly, the appeal and entertainment of the film depend on the charm of the characters, namely the charm of people; In addition, “films are like poems”. To be poetic, it means that films should be as passionate, penetrating, concise, generalizing and powerful as poetry with poetic mood and rhythm. Moreover, “films for practical purpose”. It’s very important for ancient Chinese poems to serve for practical purposes, for example, the great poet Lu You wrote “What’s learned from books is superficial after all. It’s crucial to have it personally tested somehow”, and Shakespeare also, through Hamlet, used poems and verses to teach actors how to perform on the stage. And it’s true that I was being nostalgic when I wrote the Three Character Primer, but more importantly I wanted to explore its practical use.

Some might ask would it be a little too abstract, and in that case, would it possible to make a film according to your standards. I’ll tell you that it will make sense when you have made enough films. 

As one old saying goes “The ultimate solution is the simplest, and it’s easier said than done”.

I had spent the greater part of my life lolling in the sea of film, but the problem is that I had no idea what’s it like under the water, so I just splashed at will, regardless of whether the water is warm or cold. What’s worse was that I had no sense of direction, and I didn’t care where I was heading. When the wave was gentle, I went along swimmingly, unaware of how I had muddled through. Only when the tide was against me and got me gasping for breath did I start to do some of what you could call thinking — thinking about things like life, and society, and art, and so on. Later I would share these bits of thinking with friends, and they would urge me to put them down in writing. One morning, looking at the luminous sun outside my window, my heart started throbbing, and presto, I started writing.

Thinking of those flyers in the past and the book now in front of me, my thoughts often go back to that sea. And I started to feel sad. I trust that all those who had gone through that same sea would share that feeling. I think it is because she (the experience in the sea) had given me so much, and I gave her so little in return. So much she expected of me, so little I’ve accomplished.

Thinking back over my life, I feel deeply indebted to that azure sea of film.

柳城执导的电影有《悲情布鲁克》《恋爱的旅程》《透过云层的霞光》《非法生命》等，在80年代曾产生巨大影响。曾创作出版长篇小说《爱情立交桥》，监制大型跨国专题片《世界历史》100部。1998年与电影频道主任阎晓明先生一起创立了中国的“电视电影”，如今已拍摄一千六百多部影片，其中多部影片在中国和国际电影节中获得大奖。他对“电视电影”的创立带动了中国数字电影和低成本电影的蓬勃发展。

【编后语】

电影里面的空灵和宇宙视角

尹玉峰

世界上的学问很多，学好了都各有用处。有些学问如果你不感兴趣，不想去学，可能一辈子和你也没有多大关系。

有人说：哲学可不一样，学一点大有好处，学好了受益终生。你不去找它，它也要缠着你，和你形影相随，很难摆脱其影响。

此言不虚：人类之所以自称是宇宙的精灵，是地球万物的统治者；皆因为人类具有”感、悟、 知、实” 的功能。 “感”就是人的意识思维功能，每个人具有这种本能；它还包容有悟、有知、有实。

既然"感"到了，也能"悟"到；并进一步知、识、辩、认，而付诸实现。 BBC曾经拍摄过一个系列片，其中有大量的哲学家，如《亚里士多德》，《笛卡尔》，《康德》，《马克思》，《海德格尔》等等。

电影《当尼采哭泣》《维特根斯坦》《牛津谋杀案》《美丽人生》《卡夫卡》《造物弄人》《爱因斯坦与爱丁顿》《遗忘的心》等，都是运用电影语言演绎哲学家的心路历程，让观众不由自主地回到精神家园的某个时光，代表着电影的深刻的思想性。

电影画面里的生命作为整个宇宙的缩影，人类的科学、知识或者说个人的行为、意识，它将衡量出生命的内部世界与外部世界的锲合程度。

包括某种意识、欲望、情绪、意义、体验、幻象等等。电影人的所有努力，都是在用“有序”去模仿、指向、解码、映射，给生命以哲学性的启迪。

作为影响海内外资深电影人的柳城先生，谙熟电影文化，牢固树立了优秀电影人的世界观和方法论，以激情四射的语言架构，涉足哲学、环境、灵魂、宇宙这些大命题进行电影艺术思考与实践。

优秀的电影人首先是优秀的文学人，“文学即人学”是一个富有启示性的思想。随着文学创作实践的发展，人们不断赋予它新的含义。电影画面中描写和表现的中心对象是人，人是社会生活的主人，是社会实践的主体，也是电影语言认识和反映的中心。

有人的地方就有矛盾，有矛盾的地方就有哲学。哲学引导人如何认识世界和改造世界，而不是心灵鸡汤欺哄人要用恒心去等待，想方设法成为人上人；成功就在那最后三厘米，成功就是吃三个包子之后，再吃一个包子……

电影画面的广阔无垠，不只是表现以人物为主题的社会现象，也要表现人化了的物、人化了的自然界，它们本身就具有了人的思想感情，体现人对自己生存环境的认知态度，这些都离不开哲学思考。

柳城先生卓越的电影艺术思考与实践，忠诚于信仰与哲学思想，具有最慈悲襟怀，能够把世界上的一切苦难，都包容在心，并把它咀嚼出甜味来。

因为柳城先生找到了斗争的方法，前进的灯塔——哲学。哪怕初始时的光亮，一点点、一丝丝，亦或是那么短短的一瞬间，都能拨动他内心的琴弦，给他人的心灵带来震撼和温暖。

这些，无不说明，柳城先生志在扫除电影中的平庸与琐碎，让电影的哲学性、抒情性和叙事性深入观众的心灵旷野，并让观众看到电影里面的空灵和宇宙视角，为现代电影的卓越发展、文明进步鼓与呼。

都市头条编辑委员会主任尹玉峰编后语

欢迎走进京港澳台世界头条

丨柳城电影三字经巨著连载二丨

美国奥斯卡电影节主席席德·甘尼斯评语

京港澳台世界头条发布

  都市头条编辑委员会主任尹玉峰   制作