Blue Breath
蓝色呼吸
2018 葡萄牙/芬兰/法国 78分钟 葡萄牙语
导演： Rodrigo Areias
Logline
The Azorean fishermen were challenge to control their fish exploitation. The decrease in 90% of the European Union fishing quotas took all fishermen by surprise. There is one inevitable confront between the poor fishing communities, political strategies, international relation and, at the end, the attempts of saving the seas biodiversity.
一句话简介 :
亚速尔群岛的渔民正面临着控制他们的鱼类开采的挑战。欧盟90%的捕鱼配额的减少让所有渔民都感到意外。贫穷的渔业社区、政治策略、国际关系，以及最终想拯救海洋生物多样性的努力之间不可避免地面临着一个问题。
Film Synopsis
Blue Breath is a documentary film impregnated with fiction. Part of the documental book adaptation about the life of the Portuguese fishermen covering all the coastline from North to South, finding parallelism between the actuality and the life written by Raúl Brandão 100 years ago. The objective is to bring real life and real characters to the film, building from the book structure and trying to fictional parts of the book that find common ground with the life our characters live today. It will be a film with two layers, the first about the life and stories of modern day fishermen, seen at the light of another, the stories written in “The Fishermen”, which will be interpreted by our real characters according to their life stories.
影片简介
《蓝色呼吸》是一部浸染了虚构情节的纪录片。其中一部分来自于纪实文学的改编，这部纪实文学是关于葡萄牙从北到南的所有海岸线上的渔民的生活，找到了100年前Raúl Brandão所描写的生活和现实之间的相似性。
导演目的是把真实生活和真实人物带到电影中，从书的结构中构建出来，并尝试虚构化书中能与我们今天的人物的生活找到共同点的部分。这部影片有两个层面的叙事，第一个层面是从他者的角度来看的关于现代渔民的生活和故事，另一层是“渔民”一书所写的故事，这一部分被我们影片中真正的人物根据他们的生活故事来诠释。
RaulGermanoBrandão （1867年3月12日，位于波尔图的 Foz do Douro ，1930年12月5日， 里斯本 ）是葡萄牙作家 ， 记者和军官，以其文学描写的真实性和他的语言的抒情性而闻名。 Brandão出生在波尔图的一个教区Foz do Douro，在那里度过了他大部分时光。出生在一个水手家庭中，海洋和水手是他作品中反复出现的主题。(维基百科)
This way we intend to emphasize the non evolution of life of this so important Portuguese community against all the evolution that surrounds us. It intends to be a poetic film that reflects the beauty of Raul Brandão’s words in images and sounds. But above all a film about the people.
我们要强调的方向是，那种生命的非进化论是如此重要，葡萄牙人的社群抵制我们周围充斥的所有进化论。开始就是想做一部诗意的电影，用画面和声音来表现Raul Brandão的文字之美，但最重要的是，这是一部关于人的电影。
Inspired by two Raul Brandão's works (Os Pescadores, 1923; and As Ilhas desconhecidas, 1926), Rodrigo Areias take us to the fishing community of Ribeira Quente, at S. Miguel Island, Azores archipelago, to compose a patchwork of wandering narratives that intersect people, characters and ghosts that coexist in this singular and complex territory. Halfway between the anthropological and the poetical, Hálito Azul depicts this specific space and the people who live there (who live and die at the sea) and that have been moulding it, during centuries, according to their necessities. But it's also interested in the inverse process, for the fascination fuelled by the man about local superstitions and mysticism. (Paulo Cunha)
受到劳尔·布兰多两部文学作品的启发（《渔民》1923年、《未知群岛》1926年），罗德里戈·阿里亚斯（Rodrigo Areias）带我们到达亚速尔群岛上的米格尔岛那里的里贝拉·昆特渔村，建构了一个漫游叙事的混杂物，由共存于这个非凡和复杂的领地上的人群，主要人物和幽灵们交织而成。
在人类学和诗意之间，《蓝色呼吸》描绘了这个特定的空间，和生活在那里（在海上生活和死亡）的人们，并且几个世纪以来渔民们根据他们的需要也一直在塑造这个空间。与此同时，人们对于当地的迷信和神秘主义的迷恋，也让这个空间反向的一面变得有趣味。
采访与回答
（采访：郑琼-ZQ 回答：Rodrigo Areias—RA）
ZQ: When did the idea of the film Blue Breath start? How did it come up to your mind?
影片《蓝色呼吸》的想法是什么时候开始有的？你怎么想到这个题目的？
RA: It started by me wanting to make a film on Raul Brandão, the Portuguese writer from the beginning of the 20th century. Despite knowing his work quite well, after I went through his archives, I felt like that it was too much to make one film. So I decided to focus on The Fishermen a documentary book that was released on 1923. Where he described in very meticulous detail the life and craft of the Portuguese fishermen and at the same time gave extremely poetic descriptions of the ocean, the fish, the birds or landscape. So I tried to convey the same spirit of the book into the film. In a very personal way.
我最初想拍摄一部关于20世纪初的葡萄牙作家劳尔·布兰多的电影。尽管我对他的作品很了解，但当我查阅完他的档案之后，觉得将所有故事浓缩在一部电影里太难了，因此我决定把焦点放在《渔民》那本书上，劳尔·布兰多1923年出版的一本书。这本书非常细致地描述了葡萄牙渔民的生活和他们的技艺，同时作者对海洋、鱼类、鸟类或景色给予了极其诗意化的描述，所以我试图把书中所表达的精神传递到电影里，用一个非常个人的方式。
ZQ: Before starting shooting, did you have a clear mind about the film structure? Is the current structure same to your original thought?
在开拍之前，你对电影结构就有很清晰的想法吗？现在的结构和你最初的想法一样吗？
RA: I had no idea of what film I was going to do when I started. I knew that I wanted to use the writer’s words somehow, that I wanted to show the reality of the fishermen and that I wanted to do it in the most remote fishing community of Portugal, in the Azores Islands. But the film was in constant mutation until the end. The version that was screen in Locarno was not the final version…
开始拍的时候，我并不知道电影会拍成什么样子。我知道我想以某种方式用些作家的文字，我想表现渔民们的现实，我想在葡萄牙最偏远的亚速尔群岛上来做这些，这部电影直到最后都在不断地修改，在瑞士洛迦诺（电影节）展映的那一版都不是这部影片的最终版本。
ZQ: Did you feel confused in the beginning for too many characters in a film? How did you select who would be your main characters? Or you just quit the idea with taking a regular approach which allows you keep 2-3 characters in a film?
你最初对影片中出现太多人物感到困惑吗？你是怎么选择谁来做你的主要人物？或者你就直接放弃了常规方式（在一部影片中只是找2-3个主要人物）的想法？
RA：I didn’t feel confused. I felt sorry that several characters that I have been shooting had to be lost in the editing. But that is normal on a documentary… My idea was never to have characters on the film, was that the community would be a character. It’s the place that is the main character, then some of the inhabitants came out naturally.
我没有感到困惑。我觉得遗憾的是我拍摄的好几个人物在剪辑中不得不放弃了。这在纪录片中是很常见的事情……我的想法从来不是给这部影片找到几个人物，而是这个社群（区）是影片的主要人物，在拍摄过程中，（社群中的）居民们的一些有意思的人物会自然而然的就出来了。
ZQ: It is a very smart to plant the girl who is an observer in the film into the whole structure, how did you get this idea? As well as the man in the lighthouse who used to be a singer? How did this idea come up? How long did you work out the current structure for this film?
把电影中作为观察员的那个女孩植入到整个结构中是非常聪明的，你是怎么得到这个想法的？还有包括灯塔里那个曾经是歌手的人？这个主意是怎么想到的？你花了多久时间才想出电影中现在呈现的这个结构的？
RA：The idea of the girl as an observer came out to me after the first week we spent shooting the fishermen. They all mentioned the importance of the observers on their community. That is due to the prohibition of the dolphin and whale fishing back in the 80’s. So they have regular observers that come with them on the sea. Since there was no observer expected while we were shooting, I decided to create one. For them was the same thing, since it’s always some one strange to them that stays for a couple of months and then leaves. I just understood that being a woman was always harder on them, and so I decided to take an observer with us.
在我们拍摄渔民们的第一个星期后，我突然想到以一位女孩作为一个观察员这个想法。他们都提到了观察员曾经对他们的社群的重要性。从80年代开始，由于禁止海豚和鲸鱼的捕捞，因此渔民出海时都需要配有一名固定的观察员一起出海。开始拍摄时我们没有设定观察员的准备，（但后来）我决定增加一位观察员。对渔民来说无所谓，总会有一些陌生人在船上待上个把月然后下船离开。我知道过去女的上船对他们很难，这样我决定带一个观察员一起上船。
ZQ: How did you make decision to shoot some fishing scenes, or not to shoot? How did you do your research on this point?
你是怎么做决定拍摄一些捕鱼的场景的，或不拍？在这点上你是怎么做的调研？
RA：I started the shooting by being with the fishermen preparing for fishing, which takes for several days, and then on the unloading. My research included their perspective, the information available on traditional fishing and the participation of the fishing authorities. But mainly spending time with the fishermen was my research.
我从渔民们准备捕鱼开始拍摄，这要拍好几天，然后拍他们卸货。我的调研包括他们对传统渔业和渔业部门的参与的看法和信息，但是花大部分时间跟渔民待在一起，是我做调研的方式。
ZQ: Which part is fictional in the film? Which part is non-fictional?
电影中哪个部分是虚构的？哪个部分是非虚构的？
RA：I don’t know for sure. If you exclude the mermaid and the lighthouse keeper, everything is real. The teacher is really a teacher, the fishermen are really fishermen, they sing, they drink, they have their religious festivities… I never know who’s acting… It’s like Nanook of the north, we know he is always acting, but we consider that a documentary.
我不是很确定。如果你把女观察员和灯塔守护者排除在外，一切都是真实的。老师是真的老师，渔夫是真的渔夫，他们唱歌，喝酒，举行宗教庆典……我不知道谁是在表演……就像《北方的纳努克》，我们知道他一直在表演，但我们仍然还是认为它是一部纪录片。
背景资料：
《北方的纳努克》（英语：Nanook of the North）是1922年罗伯·佛莱厄提执导的无声纪录片。此片中主要记载北极圈的原住民-爱斯基摩人的日常生活，例如与白人的毛皮交易、冰天雪地中捕鱼、猎海象等等南奴克家族艰苦奋斗的一天，记录了许多不为外人所知的画面。1989年，《北方的纳努克》因其在“文化、历史和审美方面的显著成就”，成为第一批被美国国会图书馆列入国家电影登记部下属的国家电影保存委员会保护电影名单的25部电影之一。（维基百科）
本片是享有“纪录片之父”声誉的美国纪录片导演罗伯特•弗拉哈迪的第一部纪录片电影，记录了加拿大魁北克省北极圈内哈德逊湾的伊努朱亚克附近因纽特人首领纳努克一家人从1920年8月到1921年8月期间的日常生活，包括与白人交易、捉鱼、捕猎海象海豹、灶火烹饪，以及建筑冰屋的场景，开创了人类学社会影像记录的起点。弗拉哈迪在本片中的摆拍和场景重现曾引起广泛争议，比如隐瞒纳努克平时用猎枪狩猎的事实，刻意表现因纽特人的传统鱼叉狩猎法；又比如为了拍摄冰屋内纳努克一家清早起身的场景，去掉一半冰屋采光等。 本片是历史上第一部纪录长片，于1989年被美国国会图书馆选入“国家电影记录册”。
ZQ: Are fish men in the village still working in the sea? How is their life now?
村里的渔民现在还在海里干活吗？他们现在的生活怎么样？
RA：Their life has always been hard, but now they are facing new problems. Now they are facing fish scarcity. The end of fish in the sea will ultimately make them disappear as fishermen community. But right now they are surviving. There are less boats, but they have to go much more times to fish to catch the same amount of fish they used to, now they go 20 times more to catch the same amount of fish. Which means polluting 20 times more, wasting 20 times more bate, and working 20 times more.
渔民的生活一直很艰苦，但现在他们面临新的问题。他们面临鱼资源的匮乏。海洋鱼类的终结将最终使他们作为渔民群体而消失。但现在他们还在艰难维持着。由于船只的减少，为了维持能够捕捉到和之前一样多的数量，渔民们捕鱼的次数比以前多了很多，现在他们去捕鱼的次数要比以前多了20倍，这意味着污染增加了20倍，鱼饵多投了20倍，工作量增加了20倍。
ZQ: How long did it take to finish the whole shooting? Could you describe how your regular shooting days look like?
整个拍摄过程花了多长时间？你能描述一下你日常拍摄的情形吗？
RA：I went for 6 times to Ribeira Quentewith the whole crew. Myself many more, but with the rest of the crew 6 times that was around 7 to 8 weeks of shooting. The days were not long. We depended a lot on their schedules, because after a while we would just wait for something to happen, it was impossible to plan things. We had a great time, and we were very well received by the community, so we spent a lot of time eating and drinking with them. A lot of time in that tiny bar shooting. Until they didn’t notice us anymore.
我和整个摄制组去了六次里贝拉昆特，我自己一个人去过更多次。和摄制组的其他人去的六次共拍了7至8周的时间。天数不是那么多。我们的拍摄取决于渔民的日程安排，我们只能等一些事情的发生，不太可能去计划一些东西。我们相处还不错。渔民们挺接纳摄制组的。很多时候都在那个小酒吧里，拍到后来，他们都注意不到我们存在了。
（Ribeira Quente是亚速尔群岛葡萄牙群岛Povoação市的一个民用教区。2011年的人口为767，面积为9.04平方公里。它是市政府中最小，最低和最南端的教区。）
ZQ: How much budget for the film? Production and post-production? How did you get the funding to accomplish it?
这部纪录片的预算是多少？前期拍摄和后期制作都花了多少钱？你是如何找到资金来完成的？
RA：budget wise, it is divided by 3 different companies: Bando à Parte - Portugal, October Oy - Finland and Gladys Glover - France. Development and Production was done with the Portuguese budget, and that was around €150.000. Post-production was divided between France and Finland and was approximate €75.000 each. So in the end the total budget was around €300.000. We got several national and international financial supports, starting with the Portuguese Film Institute (ICA) from where we got development and production support around €100.000, then we got MEDIA Development and Portuguese TV (RTP), then we got also funds from CNC on the French-Portuguese protocol, money from Finnish TV (YLE) and Finnish Film Foundation, which gave us the opportunity to apply for Eurimages, which we also got.
在拍摄经费方面，由三个不同的公司组成：葡萄牙的Bando à Parte，芬兰的October Oy -和法国Gladys Glover。前期调研和制作经费由葡萄牙财务经费完成，约15万欧元，后期制作费用由法国和芬兰承担，每个国家约75000欧元。最终的费用总计约30万欧元。我们最早从葡萄牙电影学院（ica）得到了项目开发和前期拍摄的经费，大概10万欧元左右，然后我们又拿到了到媒体开发（MEDIA Development）和葡萄牙电视台（RTP）的钱，接着又拿到了基于法葡协议的CNC的钱、还有芬兰电视台（YLE）和芬兰电影资金会的钱，后面的钱又给了我们机会跟Eurimages欧影申请钱，我们最后也拿到了Eurimages的钱。
ZQ: How many film festival has the film traveled by now? how is the feedback from the audiences?
到目前为止，这部电影参加过多少个电影节？观众的反馈如何？
RA：The film has been selected to 15 Festivals, but it is only on the beggining of it’s career. The reaction has been quite good.
这部电影已经入围15个电影节，这仅仅是一个开始，电影反响相当不错。
以上文章源自：iDOCS国际纪录片展 作者：郑琼
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