皮克斯走下神坛 译者：张鑫健 校对：朱星汉 导读&笔记：田阳 策划：王旻彦 朱小钊 How Pixar Lost Its Way 皮克斯走下神坛 本文选自 The Atlantic | 取经号原创翻译 关注 取经号，回复关键词“外刊” 获取《经济学人》等原版外刊获得方法 A well-regarded hollywood insider recently suggested that sequels can represent “a sort of creative bankruptcy.” He was discussing Pixar, the legendary animation studio, and its avowed distaste for cheap spin-offs. More pointedly, he argued that if Pixar were only to make sequels, it would “wither and die.” Now, all kinds of industry experts say all kinds of things. But it is surely relevant that these observations were made by Ed Catmull, the president of Pixar, in his best-selling 2014 business-leadership book . 一位德高望重的好莱坞业内人士最近宣称，影视公司一味地推出续集，意味着其“创意源泉的枯竭”。他所暗指的，正是大名鼎鼎的皮克斯动画工作室。皮克斯曾公开宣布不会出品粗制滥造的续集。接着，该业内人士更尖锐地指出，如果皮克斯只是炒冷饭，则“命不久矣”。虽然当今世界，专家横行，指点江山，大大贬损了专业意见的可信度，但以上意见绝非无关痛痒之言，因为它出自皮克斯工作室主席，艾德·卡特姆2014年出版的一本企业管理畅销书。
Yet here comes Cars 3, rolling into a theater near you this month. You may recall that the original Cars, released back in 2006, was widely judged to be the studio’s worst film to date. Cars 2, which followed five years later, was panned as even worse. And if Cars 3 isn’t disheartening enough, two of the three Pixar films in line after it are also sequels: The Incredibles 2 and (say it isn’t so!) Toy Story 4. 然而，《赛车总动员3》还是如约而至（2016年6月16日），在本月（本文发表于2017年6月）席卷各个电影院。此情此景不禁让人想起，2006年发行的第一部《赛车总动员》被公认为当时皮克斯最烂电影。而五年之后发行的第二部恶评更甚。如果各位看官捱得过烂片如《赛车总动员3》，大可不必失望，接下来还有《超人总动员2》和《玩具总动员4》两部续作。而皮克斯之颓势，就连真的超人也无回天之力。 （译者注：《赛车总动员3》2016年6月16日，《超人总动员2》2018.6.15，《玩具总动员4》2019.6.21，本文发表于2017年6月） The painful verdict is all but indisputable: The golden era of Pixar is over. It was a 15-year run of unmatched commercial and creative excellence, beginning with Toy Story in 1995 and culminating with the extraordinary trifecta of wall-e in 2008, Up in 2009, and Toy Story 3 (yes, a sequel, but a great one) in 2010. Since then, other animation studios have made consistently better films. The stop-motion magicians at Laika have supplied such gems as Coraline and Kubo and the Two Strings. And, in a stunning reversal, Walt Disney Animation Studios—adrift at the time of its 2006 acquisition of the then-untouchable Pixar—has rebounded with such successes as Tangled, Wreck-It Ralph, Frozen, and Big Hero 6. One need only look at this year’s Oscars: Two Disney movies, Zootopia and Moana, were nominated for Best Animated Feature, and Zootopia won. Pixar’s Finding Dory was shut out altogether. 皮克斯的黄金时代早已成为历史，这一论断虽然残酷，但不容置疑。皮克斯走过了15年光辉岁月，其间才华横溢，盈利也无出其右。1995年上映的《玩具总动员1》标志了其事业的起步。2008年的《机器人总动员》将事业推向高潮，2009年的《飞屋环游记》和2010年的《玩具总动员3》使皮克斯人气持续走高。《玩具总动员3》虽然是续作，但依然出色。至此，皮克斯工作室完成了史诗般的三战三捷。但在此之后，其他工作室持续推出了许多更高质量的电影。莱卡动画工作室专注定格动画，其员工匠心独运，为世人呈现了如《鬼妈妈》、《魔弦传奇》等动画电影珍宝。华特迪士尼动画工作室于2006年收购当时炙手可热的皮克斯动画工作室，在此之后却萎靡不振。但其之后的作品，如《长发公主》、《无敌破坏王》、《冰雪奇缘》、《超能陆战队》的热映，使其完成了华丽逆转，重振往日雄风。今年的奥斯卡奖便是逆转的证明：《疯狂动物城》和《海洋奇缘》两部迪士尼作品同时获得最佳动画电影提名，而奖项花落《疯狂动物城》。但皮克斯工作室的《海洋总动员2》甚至未能斩获一项奥斯卡提名。
This thriving expansion of high-quality animated storytelling would not have been possible without Pixar. The studio literally reinvented the genre with Toy Story, the first computer-generated 3-D-animated feature film. Each subsequent Pixar release offered new feats of technical wizardry, from engineering the delicate trajectories of millions of individual strands of fur in 2001’s Monsters, Inc. to capturing the wondrous interplay between light and water in 2003’s Finding Nemo. 如果没有皮克斯，也就不会有动画电影质量上升，百花齐放的现状。皮克斯的《玩具总动员1》是第一部电脑制作的3D动画电影，给业界带来了一场革命。从2001年上映的《怪兽电力公司》中，每一根毛发柔和飞扬的效果，到2003年《海底总动员1》中令人叹为观止的海水和光影交织的效果，其随后发行的每一部作品都各具特色，充满科技的灵巧。
Even as others gradually caught up with Pixar’s visual artistry, the studio continued to tell stories of unparalleled depth and sophistication. Pixar’s signature achievement was to perfect a kind of crossover animated cinema that appealed equally to kids and adults. The key was managing to tell two stories at once, constructing a straightforward children’s story atop a more complex moral and narrative architecture. Up, for example, took a relatively conventional boy’s adventure tale and harnessed it to a moving, thoroughly grown-up story of loss, grief, and renewal. 即使在后来，其他工作室逐渐在视觉效果方面能和皮克斯并驾齐驱，但仍难以匹及其电影剧情的深度和精妙之处。皮克斯最大的成就在于其使动画电影同等迎合成人与儿童的口味，从而拓宽了动画电影受众面。此中关键在于将故事讲出两种意味，在复杂的道德背景和叙事结构中，讲述一个直白的儿童故事。如《飞屋环游记》，虽然题材是传统的男孩冒险故事，最后却将其引入了另一层维度——关于爱人离世后抑郁寡欢，最后学会勇敢向前的一个感人至深的完完全全属于成人的故事。 The theme that the studio mined with greatest success during its first decade and a half was parenthood, whether real (Finding Nemo, The Incredibles) or implicit (Monsters, Inc., Up). Pixar’s distinctive insight into parent–child relations stood out from the start, in Toy Story, and lost none of its power in two innovative and unified sequels. “Who would want to see a movie about a little boy who plays with dolls?,” Michael Eisner, then the CEO of Disney, obtusely asked when told of plans for the Pixar debut. (Disney was to co-finance it.) But the film’s creative premise is precisely—and crucially—the reverse: Toy Story is a movie about dolls who want to be played with by a little boy. 皮克斯前15年深入发掘亲子题材，带来了巨大的成功。其中亲子关系有真实的，如《海底总动员》和《超人总动员》，也有隐晦的，如《怪兽电力公司》。皮克斯对于亲子关系的独到见解，从第一部《玩具总动员》就引人注目。从系列整体看，之后两部续作饱含创意，对亲子关系的探讨依旧独具洞察力。迪士尼原本打算和皮克斯共筹资金拍摄《玩具总动员》。当时的迪士尼CEO迈克尔·艾斯纳在得知《玩具总动员》的计划之后，曾提出过很愚笨的质疑：“小男孩玩玩具的电影有什么好看的。”最终电影《玩具总动员》的前提设定和艾斯纳的想法正相反，它讲的是玩具想要陪小男孩玩的故事。这个设定对电影至关重要。
That inversion complicates and intensifies the film’s emotional power. In their desire for the attention of 6-year-old Andy, the toys—particularly Woody the cowboy and Buzz Lightyear the spaceman—mirror children’s eagerness to capture their parents’ attention. Yet of course Andy is not a parent. He’s a child, and it’s the toys that are mostly accorded the role of grown-ups. (An astute bit of psychological realism: Andy, like most kids, uses them to pantomime adulthood.) So even as, on one level, Woody and Buzz act as children to Andy’s parent, on another they act as parents to Andy’s child: His happiness is their responsibility, and they will resort to the most-extreme measures imaginable to ensure it. 关系的颠倒错位，也使电影情感更丰富，更激烈。以牛仔胡迪和巴斯光年为代表的玩具们渴望得到6岁的主人安迪注意力，恰好反映了儿童渴望得到父母注意的心理。但安迪只是儿童，并不是家长。对他来说，玩具才代表了成人，其形象和成人的形象最为相似。这一点精妙地反映了儿童心理，在现实中也有对应：和大多数儿童一样，安迪用玩具过家家，模拟成人生活。所以，至少在这一层面上，胡迪和巴斯光年对应的角色是儿童，安迪对应父母；但在另一层面上，胡迪和巴斯光年的责任就是让安迪快乐，而且会竭尽所能让安迪开心。在这一层面上，巴斯光年和胡迪对应父母，而安迪对应儿童。 Toy Story thrilled adults and kids alike with this canny and moving portrayal of the parent–child bond. And its creators seemed to appreciate what a rich emotional and dramatic vein they had tapped into. Following the movie’s success, Disney, then the distributor for Pixar, pushed for the production of a quickly made, direct-to-video sequel. Such second-tier fare has long been a lucrative Disney sideline, generally produced by the in-house subsidiary Disneytoon Studios. (Examples of its output include such classics as The Lion King 1?? and The Little Mermaid: Ariel’s Beginning.) But Pixar rebelled, on the grounds that the studio aspired only to excellence. Instead it produced, at breakneck pace, a theatrical-release sequel that met the high bar set by the original. 《玩具总动员》通过恰到好处地描写亲子关系，打动了不少家长和儿童，其主创人员也认为自己涉足的题材富有情感和戏剧性，并对此感到满意。迪士尼推动了皮克斯电影录像带和电影上映同步售卖，提高了续集的制作速度，也是当时皮克斯电影录像带的批发商。迪士尼长时间把担任中间人，批发录像带当做副业，并且盈利颇丰。迪士尼旗下的迪士尼卡通工作室隶属于公司内部，曾制作过《狮子王3》和《小美人鱼：爱丽儿的起源》等经典电影。迪士尼也主要批发出售该工作室制作的电影的录像带。但皮克斯认为，动画工作室应当专注追求卓越的品质，并因此抛弃了和迪士尼的盟友关系。在此之后，皮克斯焚膏继晷，以惊人的速度制作出一部专供院线的《玩具总动员》续集。这部续作保持了和前作一般的高水准。 In his 2014 book, Creativity, Inc., Catmull describes the episode as “the crucible in which Pixar’s true identity was forged.” Toy Story 2 (1999) didn’t merely equal the original. The sequel enriched it, presenting Woody with a new but related quasi-parental dilemma: Should he spend the rest of his life untouched and pristine on the shelf of a vintage-toy collector? Or should he return to enjoy loving play with a rowdy boy (as the movie opens, Andy has inadvertently torn Woody’s arm half off) who will ultimately outgrow and discard him? In the end, Woody opts for the messy combination of joy and sacrifice with Andy, as apt a metaphor for parenthood as you’re likely to find. And with its foreshadowing of eventual abandonment, Toy Story 2 laid the groundwork for still further thematic development. That promise was fulfilled almost a decade later, in Toy Story 3, a concluding chapter in which Andy finally heads off to college and a new life, leaving behind toys and parents alike. 卡特姆在他2014年出版的书籍《Creativity, Inc.》（《创意公司》）中，把这一时期形容为“铸就皮克斯灵魂的炼丹炉”。1999年上映的《玩具总动员2》不仅保持了和原作一样的高水准，而且丰富了故事的内涵。在电影一开始，胡迪的一个手臂已经被安迪不小心扯下。此时胡迪进退两难，面临的挑战和亲子关系中的挑战有些类似：到底是应该在古董玩具收藏架上了却余生，尽量保持原装状态，还是尽管知道那个调皮的小男孩终将长大，抛弃自己，仍选择和他一起玩耍？在影片结尾，胡迪选择留在安迪身边。这一决定对胡迪意味着牺牲，但牺牲中也交织着喜悦。大部分人都读出了这一情节既暗喻亲子关系，也暗喻了胡迪终将被抛弃的命运。这也为进一步的主题展开做了铺垫。《玩具总动员3》是系列终章，上映于近十年之后。在第三部中，安迪迈向了大学生活，离开了父母，也离开了玩具们。这样的结尾，也总算呼应了前作的伏笔。 （译者注：Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration） Almost as renowned as Pixar’s onscreen magic throughout this period was its collaborative culture. Under the leadership of the studio’s founder and creative guru, John Lasseter, it relied heavily on a small, mutually reinforcing group of gifted animators and editors: Pete Docter, Andrew Stanton, Joe Ranft, Lee Unkrich, and Brad Bird (who joined Pixar in 2000). Known informally as the “Braintrust,” the group grew over time, but these five men and Lasseter stood out for their collegial self-criticism and ethos of constant refinement in the pursuit of perfection. So strong was their synergy that every time outside directors were brought in to handle a film (as they were for Toy Story 2 and Ratatouille), they were ultimately replaced by one of the early members of the Braintrust. In 2004, a Disney subsidiary, Circle 7 Animation, was created to produce sequels to Pixar films. Dubbed “Pixaren’t,” its doors were soon closed and all its scripts scrapped. 在皮克斯的黄金时期，人们津津乐道的不仅是其高超的银幕技术，还有工作室内的协作文化。当时皮克斯由创始人和创意领袖约翰·拉塞特领导，大部分事务由一个小组处理。小组内有一大批才华横溢的动画家与编辑，包括彼特·道格特，安德鲁·斯坦顿，乔·兰夫特，李·昂克里奇和2000年加入皮克斯的布拉德·博德，他们互相帮助。大家私下里把这个小组称为“智囊团”。约翰·拉塞特和最初的五位成员追求完美，以学生般的谦虚态度展开自我批评，并且持之以恒地对作品精雕细琢。虽然“智囊团”规模不断壮大，但这六位成员因此仍然卓尔不群。他们的协作早已十分默契，外人短时间内无法融入。因此每当有外来导演插手影片制作，最终都会被老“智囊团”的成员取代。类似事件在制作《玩具总动员2》和《美食总动员》曾发生过。2004年，迪士尼专门为制作皮克斯动画续集成立了Circle 7动画工作室，该工作室附属于迪士尼。但皮克斯拒绝合作，Circle 7也很快被解散，所有工作也都付之一炬。 And then, after Toy Story 3, the Pixar magic began to fade. The last film of the golden era, it was also the first film begun after Disney acquired Pixar for $7.4 billion in 2006, when Lasseter and Catmull were made, respectively, the chief creative officer and the president of both studios. The sequels that followed—Cars 2 (a spy spoof) in 2011 and Monsters University (a college farce) in 2013—lacked any thematic or emotional connection to the movies that spawned them. Though better than either of those two, Brave, Pixar’s 2012 foray into princessdom,was a disappointment as well. The studio rallied with Inside Out in 2015. But the inferior The Good Dinosaur (also in 2015) and last year’s mediocre Finding Dory only confirmed the overall decline, which was particularly noticeable in comparison with the revival under way over at Disney Animation. 然而，在《玩具总动员3》之后，皮克斯的光辉也逐渐消散。2006年上映的《赛车总动员》是是迪士尼以74亿美元收购皮克斯之后，开机制作的第一部作品，也标志着黄金时代的谢幕。在那年，拉塞特和卡特姆也分别被任命为迪士尼首席创意官和皮克斯工作室主席。皮克斯之后推出的续作，比如间谍恶搞题材的《赛车总动员2》和大学喜剧《怪兽大学》，与前作完全没有主题亦或情感上的联系。之后皮克斯大胆尝试制作公主题材电影，推出了《勇敢传说》。虽然本作质量高于前两部，但仍难以服众。2015年，皮克斯集中全力，制作出了《头脑特工队》。但同年的《恐龙当家》和《海底总动员2：多莉去哪》表现中下。相较于迪士尼动画工作室的重整旗鼓，皮克斯的全面退步尤为明显。
Catmull once said that Pixar’s intent was to make one sequel for every two original features. The ratio since 2010 has been closer to the inverse. Especially lamentable was the announcement, in 2014, of plans for Toy Story 4. The narrative and emotional arc of the trilogy had clearly been completed with Andy’s departure for college. The third installment had even closed, lovingly, with a shot that neatly mirrored the opening shot of the first film: the fluffy-white-clouds-on-blue-sky wallpaper of young Andy’s bedroom in Toy Story giving way to real white clouds in the real blue sky. Yet instead of concluding on that touching note, Pixar has opted for what has been described as a “franchise reboot”—surely the most dispiriting phrase in contemporary cinema. 卡特姆曾经说过，皮克斯本来只打算为每两部原创电影之一制作续集，但从2010年以来，这一比例几乎倒置。皮克斯在2014年宣布制作《玩具总动员4》，令人唏嘘不已。《玩具总动员3》结尾安迪离开家乡，开始大学生活，已经标志了系列三部曲在情感历程和叙事结构上的完满。另外，第三部的结尾，出现了白云漂浮在蓝天上的一幕，这里和第一部开头中小安迪卧室墙纸上的场景一样，通过呼应巧妙地结束全系列。但皮克斯并没有利用如此感人的结尾，反而选择对《玩具总动员》进行“全系列重置”。而这一行为在当代电影业中，无疑是最让人寒心的一幕。 The differing trajectories of Pixar and Disney Animation have hardly gone unremarked. At the time of the merger, Disney was “demoralized” and “failing as a company,” Catmull observed a couple of years ago, before adding, “Disney is now successful.” About Pixar, he was less sanguine: “There are major issues we’re addressing at Pixar now.” 皮克斯和迪士尼截然不同的命运在业界广受关注。卡特姆曾经对两家公司做出过分析。他认为，在两家公司合并时，迪士尼“溃不成军，整体也在走向衰落”。但对于皮克斯，他的态度却更悲观：“现今阶段，皮克斯内部面临许多严峻问题。”
Lasseter and Catmull do, after all, have only so many hours in their days to devote to their competing obligations at Pixar and Disney, as Catmull made clear in his book. If the studio with the corporate parent’s name on it took precedence, that would hardly be a surprise. Nor would it be surprising if the dilution of focus took a toll, given how dependent Pixar’s culture was on an intimate circle of innovative minds. (Other Braintrust members have been pursuing interests beyond Pixar too: Stanton explored live-action filmmaking with John Carter, and Bird did the same with Mission: Impossible—Ghost Protocol and Tomorrowland.) 卡特姆曾在书中明确地指出，他和拉塞特当时几乎无暇主导皮克斯和迪士尼的竞争。而当时，人们都认为迪士尼公司会占据领先地位。而皮克斯十分依赖“智囊团”团结一致，人们普遍认为皮克斯会为自己注意力的分散付出代价。“智囊团”成员曾在公司外效力，比如斯坦顿曾经为《异星战场》（迪士尼公司）中提供实景制作技术，以此进行测试。博德也曾为《碟中谍4》（派拉蒙）和《明日世界》（迪士尼）中提供该技术。 Still, the erosion of Pixar’s uncompromising creative independence can’t be reduced to a case of inadequate oversight. The Disney merger seems to have brought with it new imperatives. Pixar has always been very good at making money, but historically it did so largely on its own terms. The studio, remember, rejected a low-quality direct-to-video Toy Story 2, and instead worked round the clock to come up with another tour de force. But Lasseter, among his other obligations, now oversees Disneytoon Studios as well. In that capacity he served as the executive producer of 2013’s Planes and its 2014 sequel, Planes: Fire & Rescue. The two movies are—like virtually all Disneytoon films—shameless, derivative cash grabs. What makes them unique is that they are also explicit spin-offs of Pixar’s Cars franchise, a development that would have been almost unimaginable before the merger. As Lasseter himself explained, “By expanding the Cars world, Planes gave us a whole new set of fun-filled situations.” 不过，皮克斯毫不妥协、特立独行的创造性精神逐渐逝去，不能被简单认为是缺乏监督的结果。皮克斯被迪士尼并购之后，似乎被赋予了新的使命。从其历史来看，皮克斯很善于盈利，但大部分盈利作品都由其独立制作。曾记否，它曾经拒绝发售低质量的同步上映《玩具总动员2》录像带，并且抛弃盟友，夜以继日地制作出了另一部佳作。拉塞特身兼数职，并且是迪士尼卡通工作室现任掌门人。他也因此担任了2013年《飞机总动员》和其2014年续作，《飞机总动员：火线救援》的监制。而这两部电影和迪士尼卡通工作室所有电影一样，不过是无耻的圈钱续作。这一系列唯一的亮点在于，它们是《赛车总动员》系列的续作。但这样的事件在并购之前的皮克斯都无法想象。拉塞特本人辩解道：“《飞机总动员》充满了妙趣横生的场景，丰富了《赛车总动员》的世界设定。” Not to mention a whole new set of toys. Merchandising has, naturally, always been a temptation for Pixar (as for any purveyor of kids’ movies). And Disney has played a central role in the marketing and merchandising of Pixar films since 1991. But when you become a division of the largest entertainment conglomerate in the history of the world, commercial opportunities multiply exponentially. There are a dozen Disney theme parks scattered across the globe in need of, well, themes for their rides. So the year after its acquisition of Pixar, Disney announced that it would open Toy Story Midway Mania the following year at both Disney World and Disney California Adventure. Later in 2007, Disney announced a $1.1 billion redesign of its failing California Adventure park, featuring a new, 12-acre Cars Land. Additional Toy Story– and Finding Nemo–themed rides are in the works in Shanghai and Tokyo. 发售包括玩具在内的周边对于，任何儿童电影制作公司都十分具有诱惑力。皮克斯也不例外。自从1991年以来，迪士尼就一直是皮克斯电影市场宣传的中坚力量。而在成为娱乐业巨头——迪士尼的附属后，皮克斯的商业机会呈指数级增长。全球有许多迪士尼乐园，其游乐设施缺乏题材。因此，在并购皮克斯的第二年之后，迪士尼宣布在奥兰多的迪士尼世界和迪士尼加州冒险乐园添加玩具总动员主题的Toy Story Midway Mania设施。在2007年，迪士尼又宣布投入11亿美元，用于对逐渐破败的迪士尼加州冒险乐园进行重修。新乐园新在一个占地12英亩的《赛车总动员》园区。同时，上海和东京的迪士尼乐园也正在修建《玩具总动员》和《海底总动员》主题的游乐设施。 Indeed, the overlap between the Pixar movies that beget sequels and the movies that inspire rides at Disney amusement parks is all but total. Theme-park rides are premised on an awareness of the theme in question, and young parkgoers are less likely to be familiar with movies that are more than a decade old. If you want them clamoring to experience Toy Story Midway Mania, they’ll need a Toy Story 4. Cars Land could use a Cars 3, and Finding Nemo–associated rides were due a Finding Dory. Who better to preside over all this corporate synergy than Lasseter—who, to note yet one more of his many titles, is also the “principal creative adviser” for Walt Disney Imagineering, the subsidiary responsible for designing the rides? 皮克斯的系列电影才是促使迪士尼开发游乐设施的电影。哪些是令人们感兴趣的大热主题，主题公园就会建设什么样的游乐设施，年轻一代对那些十多年前的电影可能不太熟悉，新的《玩具总动员4》才能激起他们游览《玩具总动员》主题园区的热情。对于《赛车总动员》和《海洋总动员》，也需要新作来保持年轻一代的热情。拉塞特是主导迪士尼内部协作的最佳人选，他提出：自己除了目前已有的诸多职务之外，还是华特迪士尼幻想工程的“主要创意顾问”，这一职位的次要职责就是设计游乐设施。除他之外，何人能出此言？ Pixar has promised that after the upcoming glut of sequels, the studio will focus on original features. But we’re grown-ups, and though the once inimitable studio has taught us to believe in renewal, it has also trained us in grief and loss. I’m not sure I dare to expect much more of what used to make Pixar Pixar: the idiosyncratic stories, the deep emotional resonance, the subtle themes that don’t easily translate into amusement-park rides. I’m thinking of the heartbreaking, waltz-set “Married Life” segment of Up, which packs more emotion into four minutes than most Oscar-nominated dramas manage in their entire running time. Or the wistful solitude of wall-e’s robotic protagonist, left behind on Earth to clean up his creators’ mess. Or Anton Ego’s artful critique of criticism at the end of Ratatouille, arguably the slyest words on the subject since Addison DeWitt’s in All About Eve. 尽管皮克斯已经承诺，在长时间用续集轰炸市场后，他们会回归原本，但老粉丝都早已长大成人。皮克斯制作的续集，不仅让我们感动过，也因为质量不佳等问题，让我们对这个伟大的工作室感到沮丧和惋惜。早期皮克斯动画灵魂，包括气质独特的故事情节，深层次的情感共鸣和若隐若现的主题思想，这些都不能轻易转化为游乐设施的主题，笔者本人不敢奢望这些本质的回归。相反，更感动我的是《飞屋环游记》的一个感人片段，四分钟华尔兹背景音乐《Married Life》中流淌出的情感比大多数奥斯卡提名的电影全剧包含的感情还要丰富；是《机器人总动员》主人公瓦力被遗弃于地球，清理人类留下的脏乱环境的孤独凄惨；也是《美食总动员》结尾安东·柯博对于“评论”（柯博是美食评论家）的精明见解，它绝对是继《彗星美人》中爱迪生·德怀特的台词之后最精妙的论断。
None of these films is scheduled to have a sequel. And none is particularly suited to becoming a theme-park ride (though Disney unveiled Ratatouille: The Adventure at, of course, Disneyland Paris). Which can’t help but raise the question: Would Pixar even bother making those pictures anymore? 虽然迪士尼宣布要在巴黎迪士尼乐园中建设《美食总动员》园区，但以上这些作品，不仅从一开始就没有续集计划，也没有哪部比较适合来打造主题乐园的游乐设施。不过问题是：皮克斯现在还会绞尽脑汁去制作伟大的作品吗？ #读译交流# 后台回复 读译会，参与取经号Q群交流 #外刊资源# 后台回复 外刊，获取《经济学人》等原版外刊获得方法 #关注取经号# 扫描 二维码，关注跑得快的取经号（id: JTWest） <原文链接：https: www.theatlantic.com/magazine/archive/2017/06/how-pixar-lost-its-way/524484/=""> |
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来自： alayavijnana > 《影音文娱》
