中文：电影也有一本经
张艺谋*
九百个字够写一篇儿稿纸，够讲十多分钟的话，要说出一本书，肯定是个奇迹。这就好比叫一个导演拍两个镜头编一部九十分钟的电影，一百多年，世界上什么样的电影都有人试验，大概下个一百年也没人做这种探索。
但偏偏就写九百个字编一本书，而又让内容和形式达到如此的统一，柳城做到了。让我惊讶的是，他用九百字一首诗著成一本大书，用那么简洁的语言讲了一篇大理，叫初学者去入门，叫过来人去体会，叫干活的去使唤，叫还没干活和干完活的去琢磨，甚至叫老一点的人去回忆。书里说的事我几乎件件都经历过，但读起来还是感到那么新鲜，那么有冲击力，那么让我有感觉，那么引起我的思考。为什么？我只能说，它是柳城用他对整个电影事业的体验写的，用他对电影的真诚写的，用他对创作的迷恋写的，用他的那些所有过去的日子写的。
在柳城这部“经”里，可以成为经典的句子随手可得，像“写人物 一棵树 枝叶繁 根须固”，像“塑性格 莫凝止 此一时 彼一时”，像“戏入心 情才真 食无味 夜难寐”，数不胜数。为了说尽戏的静和动是怎么回事儿，艺术的表和里甚至本质又是怎么回事儿，他先说人和戏“曰拍戏 琢美玉 攀荆山 求和璧 烧三日 望幽谷 雕若拙 归于朴”，紧接着他又说戏中人“丝丝扣 情之带 千千结 欲之债”。以上任何一段都可称为绝句，而“轻宠辱 耐枯荣 漫漫路 踽踽行”让我牢记一生。
柳城的一首电影诗，真可谓“看似寻常最奇崛，成如容易却艰辛”。
2、英文：Filmmaking Has Its Own Scripture
Zhang Yimou
Generally speaking, 900 or so Chinese characters are barely enough words for a short article, to be recited in a few minutes. It would be a miracle to make an entire book out of so few characters. It would be like asking a director to complete a 90-minute feature film with only two camera shots. Over the last hundred years, people have done all kinds of experiments with filmmaking. But it is doubtful that anyone could accomplish such a feat in the next hundred years.
Master filmmaker Liu Cheng has accomplished this feat. He has made a book out of 900 ideographic characters, achieving a complete harmony of form and content. What amazes me is that he was able to produce a major work using so few words and present a major truth so neatly. Master Liu Cheng shows young novices how to get a foot in, teaches a few tricks to people already in the business, and helps them think for themselves. Moreover, he calls up the memories of those who had done it, and make them think back to what they had been through. I personally had gone through just about everything described in the Primer, yet it still feels so fresh, it impacts me so powerfully! I ask myself: how is that possible? All I can say is that the book is powerful because Liu Cheng wrote it from his vast personal experience in the film industry. He had poured into it his loyalty to film and his obsession for writing. He had written it with all the days of his life.
In his Primer, classic sentences can be easily found, just like: “Picture each character as a tree, With foliage splendid, roots hardy. Character should never be set in stone, But to growth and development prone.” “You know it’s on when in art you are steeped. And food has no flavour, you don’t care about sleeping.” In art, for instance, how should we handle the relationship between motion and immobility? He said: “Filmmaking is like carving jade of great worth; Firstly, scale the peaks to where it lies in the earth”, and then: “Emotional truth will be your glue and your weave, Conflict comes from desires to which we cleave”. Any of that shall be praised as classics. And “Fans may praise and critics may moan - But it’s long, long road and you walk it alone” is something that I would never forget in my whole life.
The Primer drips with such memorable phrases. This is a book which is deceptively simple, but full of surprises. It seems effortless, but has been carved out through painful effort.
*Director, Representative works: Raise the Red Lantern, Red Sorghum which won the Golden Bear Award at the 38th West Berlin International Film Festival; The Story of Qiu Ju won the Golden Lion Award at the 49th Venice Film Festival; Not One Less won the Golden Lion Award at the 56th Venice Film Festival; The Road Home won the Silver Bear Grand Jury’s Award at the 50th Berlin International Film Festival
↑著名导演，代表作有《黄土地》《霸王别姬》等，《霸王别姬》获第46届戛纳电影节金棕榈奖、第51届金球奖最佳外语片奖。
中文：一片锦绣与朝晖
陈凯歌
认识柳城先生，已经三十多年了。初识时，我们都在电影学院。他做老师，我是学生。忽有一日，不知为何要问他的名字是哪个字，答曰是“城墙”的“城”。“千柳之荫，围之君城”，竟是一派温润茂盛的意境，这是让我以后经常在脑子里浮现的景象。后来，他在电影局担任领导中国电影创作的重要工作，与我的来往渐多。他为人真诚率直，每侃侃而谈、谆谆以教，均直指重心，断论要害，既不失老师的本色，更不减朋友之忠言，真的使我受益良多。正是那个时期，天光一线破空来，造就那时间电影创作的大繁荣，使众多佳片熠熠生辉，脱颖而出，柳城老师功莫大焉。这个事实，历史是记住了的。其所以能够如此，自然与他本人的过人胆识和丰厚学养都有直接的关系。只要他与创作者一同精进，总会有好片的诞生。他，是我们大家的好朋友，这谁都不会忘记。
后来柳城老师渐隐于电影，但不时听说又在电影频道埋头辛劳。作为一位在电影事业中历尽沧桑的先行者，他心中那些说不尽的感慨和领悟总是要喷薄而出，这是他的性格使然，于是他要谈创作，谈电影，谈编导演，谈摄录美，谈音乐，谈剪接，谈技术，谈制作，谈文理和艺理，更要谈艺术和人生。于是一本言简意精的长诗《电影三字经》便问世了。我特别注意到，这部内容如此丰富的书却只有九百个字，这真是让我极为惊讶。我在之前致柳城老师的信里说，你的《电影三字经》写得真好，我很感动，又很感慨。这是因为他能写得这么深广、这么敦厚、这么准确、这么干净、这么潇洒自如，特别是这么不带一点自我。
梁武帝时，大臣周兴嗣犯错，武帝罚他作文。他以一日一夜的时间写成了《千字文》，写完头发都白了。这就是名传千古的“天地玄黄……”。《电影三字经》虽不必同《千字文》相比，我也不知柳城老师写了多少时间，但对电影的拳拳之心、谆谆之教，却是柳城作为老师的本色。区区九百言洞悉的规律，足可以使我们受用一生。可以断言，这部仅有九百个字的经书，是对一百年来全世界电影创作的总结，它必将是世界电影的传世之作。像“戏入心 情才真 食无味 夜难寐”，像“场场戏 皆全局 个个人 皆相系 丝丝扣 情之带 千千结 欲之债”等语，确为电影创作历久不易的真谛。而“凡做艺 真至诚”和“轻宠辱 耐枯荣 漫漫路 踽踽行”，更是鼓舞我们在创作上勇往精进的箴语。
三十年来辨是非，光阴时势两相催。
诗书映出真情在，不尽锦绣与朝晖。
谢谢柳城老师。
2、英文：The Boundless Glory of a Morning Sun
Chen Kaige
I have known Mr. Liu Cheng for more than thirty years. We first met at the Beijing Film Academy — he the teacher, I the student. One day out of the blue, I asked him about his given name — of the many Chinese characters pronounced cheng, which was the one that he was named after? He told me that his cheng was the one designating a city wall, as “in the shadow of thousands of willow trees, the cheng enclosing the imperial city...” It is this imaginary of lush embrasure that often crops up in my mind when I think of him. Later, Liu Cheng was moved to a leadership position at the State Administration of Radio, Film and Television (SARFT), overseeing the film industry, especially the production of film scripts, and since then, we often ran into each other. In our many conversations, he was sincere and straightforward, always hitting the nail on the head. I invariably come away from our conversations having learnt something as a student, at the same time basking in the warmth of his friendship. It was precisely during the period when Liu Cheng was at SARFT that the ice was broken and our film industry saw a great flowering, with wonderful films bursting on the scene one after another. Considering Liu’s position at the helm, and keeping in mind his vision, his scholarship, and his solidarity with filmmakers, let me state unequivocally that Liu’s contribution to this great flowering of Chinese film is carved in stone.
Subsequently, Professor Liu Cheng eased out of the film business and brought his expertise to the Movie Channel fo CCTV. As a trailblazer who had seen it all, he was bound to “let off steam”. It was only natural form to discussing creation, movies, script, directing, shooting, editing, music, technology, production, as well as the theory of writing and art, and of coure, art and life. It struck me at a glance that this compendium of wisdom was composed of only 900 Chinese characters. It was absolutely amazing. In my letter to Professor Liu Cheng, I told him how much I admired his Three-Character Primer of Film, and how impressed I was by the depth and breadth of his learning. Within the space of 900 words, he was so precise, so neat, so relaxed and easy, without a trace of self-consciousness. The opening lines about film and filmmakers had absolutely said the last word on the subject, and triggered a host of memories of my own.
During the time of Emperor Liang Wu of the Southern Dynasties, one of his officials Zhou Xingsi was found guilty of an offence and ordered by the Emperor to write a composition as punishment. Zhou sat up writing through one day and one night, and produced the famous Thousand-Character Essay on Heaven and Earth. Meanwhile his head of hair had turned white overnight. Although we need not compare the Three-Character Primer of Film with Zhou Xingsi’s Thousand-Character Essay — I do not know how much time Professor Liu Cheng had spent on the writing — yet this remarkable work, conveying his wisdom and throbbing to his very heartbeat, confirms Liu Cheng as a Grand Master of Film. The Primer taught us everything we need to know about film, enough to last us a lifetime. Not only that, but the Primer will go down to posterity as a summing-up of the films of the world over the last hundred years.
Lines such as:
You know it’s on when in art you are steeped,
When food has no flavour and you care not for sleep.
Each scene within the whole does fit,
Each character with others tightly knit.
Emotional truth will be your glue and your weave,
Conflict comes from desires to which we cleave.
Perfectly captures the essence of filmmaking. Liu Cheng’s final admonition that
Fans may praise and critics may moan,
But it’s a long, long road and you walk it alone.
Will keep us going forward on the straight and narrow path.
Looking back at Liu Cheng’s lifetime of achievement, I cannot help thinking of his
“Thirty years spent telling right from wrong, Buffeted by Time and Circumstance.
Poetry and letters convey true feelings, As the boundless glory of a morning sun.”
Thank you, my teacher Liu Cheng.
*Director Representative works: Yellow Earth, Mei Lanfang, Farewell My Concubine which won for Best Foreign Film at the 51st Golden Globe Awards and the Golden Palm Award at the 46 th Cannes
↑尹玉峰在第八届北京国际电影节上
电影这碗饭不是谁想吃
就吃得到吃得香吃得美的
尹玉峰
这些年来，想吃电影这碗饭的跨界奇葩人才特别多，他们认认真真拍烂片，兢兢业业骗钱财。
主题模糊空洞，情节一地鸡毛，惯用浮华的插科打诨和碎片化的微博微信语言堆砌台词，让观众很难找到影片内在的冲突与人物的情感变化。严格地说，他们如何运用电影语言讲故事，还停留在幼儿园水平，但在房票炒作上，可是极尽各种闹腾……反正中国人年均读书不足8本，不太注重心灵丰饶了。
不得不承认，电影的周围环境也出现了诸多问题，比如美术界、文学界，假大空劣现象十分严重：一声嘶吼拖墨宝，僵直乱颤丹青出；胡涂乱抺乌鸦语，披头散发鬼画符。兰亭经禅不屑顾，佯扮道士走江湖；头顶光环掩猥琐，扒皮之后现恶俗。再看文学也覆辙，油腻无聊更世故；创作本应米酿酒，却熬糊粥便欢呼。拉票评奖圈里乐，文盲流氓不读书；变幻千般还是鬼，环境污染待扫除。他们一淫二邪、猫三狗四、人五人六、乱七八糕、九恶十衰，谁还会感到舒服呢？
从前有个哲学家问他的学生如何除掉旷野里的杂草，有说用铲子铲的，有说用火烧的，有说撒石灰的，有说连根拔的……哲学家未作回答，只吩咐学生一年以后再来此地相聚。过了一年，众学生来到这片旷野，看到的不再是丛生的杂草，而是一片生机勃勃的庄稼。
哲学家要学生明白的其实就是祛邪必先扶正的道理。传统中医也讲：正气内存，邪不相干。“是气所磅礴，凛然万古存"。雨果曾说：“人类的心灵需要理想甚于需要物质。”不扶正，怎么能祛邪？不树红，怎么能除黑？不树立崇高信仰、怀揣伟大理想，怎么能抵制邪门歪道？
当别人载歌载舞的时候，能看到危机；当别人暗无天日的时候，应提供帮助，这就是有信仰有理想的人。从著名导演张艺谋和陈凯歌的解读评语中，让我们温馨感受到，资深电影人柳城先生就是这样的哲学家，这种有信仰有理想的人，国家需要这种人!
都市头条编辑委员会主任尹玉峰感言
都市头条编辑委员会主任尹玉峰与国家电影局柳城副局长在一起舒心畅想诗电影。
柳城。著名电影艺术家。1964年毕业于北京电影学院，从事电影工作已有五十五年。柳城先后在八一电影制片厂、珠江电影制片厂、青年电影制片厂工作，从事电影编剧、电影导演、艺术指导、电影监制，后任艺术副厂长。1987年赴任中国国家电影局局长助理、艺术副局长，直至退休。退休后出任广电总局电影频道艺术总监。期间曾受聘于北京电影学院，任客座教授。
图为：柳城在第84届奥斯卡颁奖典礼上，两位奥斯卡主席手执《电影三字经》如获至宝，簇拥着他合影。柳城是国内电影人唯一走过两次奥斯卡红地毯的人，如此殊荣，被世界电影人称为罕见。
中央电视台新闻直播间已对柳城《电影三字经》入驻美影艺学院及其世界影响进行了即时采访及全方位的跟踪报道。
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。
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。
人民的电影人，理应成为一个伟大的爱国主义诗人，能够在历史的长河中给人们留下一个节日；便让我们念起了端午水的潺潺，遍布荆楚、上下求索的雅士盘桓。他一路阡陌，心中长满了兰蕙，洒下坠露的花香；香魂淡雅、亲切，美好而略带悲伤……
百年电影，迎接朝日晓妆，问莽莽苍苍，晚霞燃烧后，能否容得客狂？电影人常常在寂寞、疼痛中默数清寒，匆匆华年日夜老去，生之搏大千，永远福祉人民。
十年煮酒意绵长，十年砺剑透雪霜；心中满怀无限爱，君子有德为人民。如莲的情愫，自有破茧成蝶的唯美，凝韵出丹青画卷、洁藕不离的缠绵。
柳城感动了静夜，换来阳光下繁花的馨香！于是他驰骋电影天下，信步广宇翩跹。回望富丽殿堂，藏珠蕴玉，飞霞水云间，留取清影照人间；君子相约在、电影春天，京桃燕柳凝了烟；似水柔意，如火肝肠，天下共识焉！
【制作人】尹玉峰。中民文化产业集团副总经理、慈善中国书画院、中国书画艺术研究院两院副院长、都市头条编辑委员会主任。
换一换
