戈达尔对几个导演的看法
大部分内容来自<Godard On Godard>
尼古拉斯·雷：如果某天电影消失了，雷会重新创造它。如果没有了电影其他大多数导演都不会有什么损失，雷会，想象不出雷会做除了拍电影以外的事情。有些纯粹的、只能存在在电影中的东西，在雷的作品里可以找到。“There was theatre (Griffith), poetry (Murnau), painting (Rossellini), dance (Eisenstein), music (Renoir). Henceforth there is cinema. And the cinema is Nicholas Ray.”
沟口健二：日本最伟大的导演。沟口的艺术在于让事物呈现它原本的面貌，而这种“简单”也是他电影里最复杂的部分，如同他电影中的推拉镜头，少，却极美。《雨月物语》这部杰作使沟口健二成为同格里菲斯、爱森斯坦、雷诺阿一样伟大的导演。
顺便将沟口同黑泽明小比了一番：“There can be no doubt that any comparision between Mizoguchi and Kurosawa turns irrefutably to the advantage of the former.”
罗伯特·布列松：“He is the French cinema, as Dostoievsky is the Russian novel and Mozart is German music.”
雅克·塔蒂：“With him, French neo-ralism was born……Tati has a feeling for comedy because he has a feeling for strangeness.” 塔蒂镜头下的草木、风筝、小孩子、老男人…任何的、所有的一切，都奇奇怪怪又富有魅力。
罗杰·瓦迪姆：“It is pointless to compliment Vadim on being ahead of his time, because all that has happened is that everyone else is behind while he is up to date.”
约瑟夫·L·曼凯维奇：最优秀的美国导演之一。
Norbert Carbonnaux：懒家伙。一边通往雅克·塔蒂一边通往马克斯兄弟的喜剧之路上，他就是懒到只能徘徊在二者之间。他就像那些每天花了23个小时起床用剩下1个小时疯狂工作最后还哭诉“噢多么糟糕的一天！”的人。“Carbonnaux is incredibly lax and lazy at the script stage or in preparing gags, but wakes up during shooting, and by the time it comes to the editing has really collected all his wit.”
让·丹尼尔·波莱（Jean-Daniel Pollet）：奥逊·威尔斯25岁拍出了《公民凯恩》开始，全世界所有的年轻电影家们都在梦想着在此年龄前拍出自己第一部力作。我相信让·丹尼尔·波莱将会第一个实现这个梦想。
道格拉斯·塞克：“Douglas Sirk is an honest film-maker, in the classic sense of the adjective. His genuine simplicity is his strength.”
鲍里斯·巴尔涅特（Boris Barnet）：只有铁石心肠的人才会不喜欢他的电影！“It is there in his rare camera movements, in which grace vies spontaneously with precision. It is there in his genius for narrative, which makes born story-tellers out of those who employ it. It is there, thanks to Boris Barnet, that inimitable style which will die only with cinema.” （唔也是我私心想推荐的一位导演）
安东尼·曼：重新发现了西部片。“He both shows and demonstrates, innovates and copies, criticizes and creats.”
阿巴斯："Film begins with DW Griffith and ends with Abbas Kiarostami."
朱尔斯·达辛：他在拍那些半纪实形式的片子时还不算太烂，但是有一天，我们亲爱的达辛来到法国啦，他义无反顾的投身于情节剧，结果呢，两个小时的《La legge》一个好镜头都没有。
英格玛·伯格曼：“the most original film-maker of the European cinema…the film-maker of the instant.” 伯格曼的镜头只做一件事：抓住那些短暂的、难以捉摸的瞬间，深入它，赋予它们永恒。
戈达尔写伯格曼这篇有点好玩的，还将导演分为了两类：一边是罗西里尼、奥逊·威尔斯、伯格曼，一边是希区柯克、弗里茨·朗、维斯康蒂。改天有兴致也许翻了它~
……
尼古拉斯·雷：如果某天电影消失了，雷会重新创造它。如果没有了电影其他大多数导演都不会有什么损失，雷会，想象不出雷会做除了拍电影以外的事情。有些纯粹的、只能存在在电影中的东西，在雷的作品里可以找到。“There was theatre (Griffith), poetry (Murnau), painting (Rossellini), dance (Eisenstein), music (Renoir). Henceforth there is cinema. And the cinema is Nicholas Ray.”
沟口健二：日本最伟大的导演。沟口的艺术在于让事物呈现它原本的面貌，而这种“简单”也是他电影里最复杂的部分，如同他电影中的推拉镜头，少，却极美。《雨月物语》这部杰作使沟口健二成为同格里菲斯、爱森斯坦、雷诺阿一样伟大的导演。
顺便将沟口同黑泽明小比了一番：“There can be no doubt that any comparision between Mizoguchi and Kurosawa turns irrefutably to the advantage of the former.”
罗伯特·布列松：“He is the French cinema, as Dostoievsky is the Russian novel and Mozart is German music.”
雅克·塔蒂：“With him, French neo-ralism was born……Tati has a feeling for comedy because he has a feeling for strangeness.” 塔蒂镜头下的草木、风筝、小孩子、老男人…任何的、所有的一切，都奇奇怪怪又富有魅力。
罗杰·瓦迪姆：“It is pointless to compliment Vadim on being ahead of his time, because all that has happened is that everyone else is behind while he is up to date.”
约瑟夫·L·曼凯维奇：最优秀的美国导演之一。
Norbert Carbonnaux：懒家伙。一边通往雅克·塔蒂一边通往马克斯兄弟的喜剧之路上，他就是懒到只能徘徊在二者之间。他就像那些每天花了23个小时起床用剩下1个小时疯狂工作最后还哭诉“噢多么糟糕的一天！”的人。“Carbonnaux is incredibly lax and lazy at the script stage or in preparing gags, but wakes up during shooting, and by the time it comes to the editing has really collected all his wit.”
让·丹尼尔·波莱（Jean-Daniel Pollet）：奥逊·威尔斯25岁拍出了《公民凯恩》开始，全世界所有的年轻电影家们都在梦想着在此年龄前拍出自己第一部力作。我相信让·丹尼尔·波莱将会第一个实现这个梦想。
道格拉斯·塞克：“Douglas Sirk is an honest film-maker, in the classic sense of the adjective. His genuine simplicity is his strength.”
鲍里斯·巴尔涅特（Boris Barnet）：只有铁石心肠的人才会不喜欢他的电影！“It is there in his rare camera movements, in which grace vies spontaneously with precision. It is there in his genius for narrative, which makes born story-tellers out of those who employ it. It is there, thanks to Boris Barnet, that inimitable style which will die only with cinema.” （唔也是我私心想推荐的一位导演）
安东尼·曼：重新发现了西部片。“He both shows and demonstrates, innovates and copies, criticizes and creats.”
阿巴斯："Film begins with DW Griffith and ends with Abbas Kiarostami."
朱尔斯·达辛：他在拍那些半纪实形式的片子时还不算太烂，但是有一天，我们亲爱的达辛来到法国啦，他义无反顾的投身于情节剧，结果呢，两个小时的《La legge》一个好镜头都没有。
英格玛·伯格曼：“the most original film-maker of the European cinema…the film-maker of the instant.” 伯格曼的镜头只做一件事：抓住那些短暂的、难以捉摸的瞬间，深入它，赋予它们永恒。
戈达尔写伯格曼这篇有点好玩的，还将导演分为了两类：一边是罗西里尼、奥逊·威尔斯、伯格曼，一边是希区柯克、弗里茨·朗、维斯康蒂。改天有兴致也许翻了它~
……
