Gedo Senki
格得戰記
*編註:《格得戰記》為Earth Sea系列的日文譯名，台灣的翻譯則是《地海巫師》系列，由謬思出版社出版。這次吉卜力工作室的電影主要是以原作第三集為本，並且摻雜其他卷數中的內容。
A First Response to “Gedo Senki,” the Earthsea film made by Goro Miyazaki for Studio Ghibli.
Written for my fans in Japan who are writing me about the movie, and for fans elsewhere who may be curious about it.
對於由吉卜力工作室的宮崎吾朗所製作之地海電影「格得戰記」之第一反應。
寫給正寫信告訴我關於這部電影的日本書迷，以及其他地區可能對此感到好奇的書迷。
Preliminary Note:
開頭註明
Very few authors have any control over the use made of their books by a film studio. The general rule is that once the contract is signed, the author of the books is nonexistent. Such labels as “creative consultant” are meaningless. Please do not hold any writer except the script-writer responsible for anything in a film. Don’t ask the book’s author “Why did they . . . ?” She is wondering too.
極少作者在製片工作室如何使用他們的書上擁有任何控制權。一般的規則是，一旦合約簽訂，書的作者就形同不存在，而如「創作顧問」等標記是沒有意義的。除了電影腳本的作者，請不要認為有任何作者可以對電影中的任何東西負責。不要問這本書的作者「為什麼他們…？」因為她也同樣正困惑著。
Brief history:
簡史
Twenty or so years ago, Mr Hayao Miyazaki wrote me expressing interest in making an animated film based on the (then only three) books of Earthsea. I did not know his work. I knew only Disney-type animation, and disliked it. I said no.
大約二十幾年前，宮崎駿寫信告訴我他有興趣以地海(當時只有三本)為基礎來製作一部動畫片。當時我並不清楚他的作品，只知道迪士尼式的動畫而且並不喜歡，所以我拒絕了。
Six or seven years ago, my friend Vonda N. McIntyre told me about My Neighbor Totoro and we watched it together. I became a Miyazaki fan at once and forever. I consider him a genius of the same caliber as Kurosawa or Fellini.
六、七年前，我的朋友Vonda N. McIntyre告訴我有關龍貓的事，並一起觀賞這部片。我當下成為了永遠的宮崎駿迷。我認為他的才幹是等同於黑澤明和費里尼的天才之流。
Some years later, when I found that the delightful Japanese translator of the later Earthsea books, Ms Masako Shimizu, knew Mr Hayao Miyazaki, I asked her to tell him that, if he was still interested in Earthsea, I would welcome talking with him about a film.
過了幾年，當我發現地海後期書籍的可愛日本譯者，清水真砂子小姐，認識宮崎駿先生時，我請她幫我轉達宮崎駿，如果他仍舊對地海有興趣，我很樂意和他談談關於這部電影。
I had a pleasant correspondence with Mr Toshio Suzuki of Studio Ghibli. In our correspondence, I urged the unwisdom of radical changes to the story or the characters, since the books are so well known to so many readers, in Japan as elsewhere. In order to have the freedom of imagination he ought to have in making his film, I suggested that Mr Miyazaki might use the period of ten or fifteen years between the first two books: we don’t know what Ged was doing in those years, aside from becoming Archmage, and Mr Miyazaki could have him doing anything he liked. (There is no other film maker to whom I would make such a proposition.)
我和吉卜力工作室的鈴木敏夫先生有段愉快的通信。在我們的信件聯絡中，我強力主張大幅改變故事中角色的不明智，因為這些書已經充分被許多日本以及世界各地的讀者所熟悉。為了讓他能擁有在製片中所應得的想像自由，我建議宮崎駿先生可以採用前兩本書中間隔的十到十五年這段時期：我們不知道格得除了成為大法師以外在這些年裡做了些什麼，而且宮崎駿先生可以創作任何他喜歡的事物。(除了他以外，我不會對任何製片者提出這樣的建議。)
In August 2005, Mr Toshio Suzuki of Studio Ghibli came with Mr Hayao Miyazaki to talk with me and my son (who controls the trust which owns the Earthsea copyrights). We had a pleasant visit in my house.
在2005年的8月，吉卜力工作室的鈴木敏夫先生和宮崎駿先生一起前來拜訪我和我兒子(掌管地海版權的信用)。我們在我家擁有一次愉快的參訪。*編註：關於此次參訪的詳情，可參考鈴木敏夫的訪問。
It was explained to us that Mr Hayao wished to retire from film making, and that the family and the studio wanted Mr Hayao’s son Goro, who had never made a film at all, to make this one. We were very disappointed, and also anxious, but we were given the impression, indeed assured, that the project would be always subject to Mr Hayao’s approval. With this understanding, we made the agreement.
我們得知宮崎駿先生想自製片工作中退休，而他的家庭以及工作室希望宮崎駿尚未製作過任何影片的兒子吾朗能夠製作此作。我們非常失望並焦慮，但他們給予我們這個案子會隨時在宮崎駿先生的批准下執行的確實印象。在這層了解下，我們達成了協議。
At that time, work had already started on the film: a copy of the poster of the child and the dragon was given us as a gift, and also a sketch of Hort Town by Mr Hayao and the finished version of it from the studio artists.
當時，電影已經開工了：一張繪著孩子和龍的複製海報送給我們作為禮物，除此之外還有一張宮崎駿先生繪製的霍特鎮草圖，以及工作室畫家所繪的完成圖。
Work on the film went on extremely rapidly after that. We realised soon that Mr Hayao was taking no part in making the film at all.
在那之後電影的製作進度極迅速的進行著。我們很快地了解到，宮崎駿先生在這部電影的製作中並沒有參與任何部分。
I had a very moving letter from him, and later one from Mr Goro. I answered them as well as I could.
從他那裡我收到一封非常動人的信，稍後又收到一封來自吾朗先生的。我盡可能的回覆他們。
I am sorry that anger and disappointment attended the making of this film on both sides of the Pacific Ocean.
對於在大西洋兩岸隨之而來對本片製作的憤怒和失望，我感到非常遺憾。
I am told that Mr Hayao has not retired after all, but is now making another movie. This has increased my disappointment. I hope to put it behind me.
我被告知宮崎駿先生並沒有真的退休，而且現在正在製作另一部電影。這增加了我的失望。我希望能將之放置腦後。
The Film.
關於影片
As my son and I could not go to Tokyo for the premiere of the film, Studio Ghibli very kindly brought us a copy, and gave us a private screening at a downtown theater on Sunday August 6, 2006. It was a joyful occasion. Many friends with children came. It was entertaining to get the kids’ response. Some younger ones were rather frightened or confused, but the older kids were cool with it.
由於我和我兒子無法至東京參加電影的首映會，吉卜力工作室非常體貼的帶給我們一份拷貝，並在2006年的８月６日為我們在市內戲院舉辦一場私人的放映會。那是個喜悅的時刻，許多朋友和孩童前來參加。觀察孩子們的反應非常有趣，有些比較年輕的孩子有點受到驚嚇或感到困惑，但比較年長的孩子對此則很冷靜。
After the screening we went to have dinner at my son’s house. Elinor the corgi behaved with great propriety, while Mr Toshio Suzuki did headstands on the lawn.
在放映會後我們到我兒子的家共進晚餐。當鈴木敏夫先生在草坪上倒立時，家裡的威爾斯柯基犬Elinor舉止得宜。
Mr Goro Miyazaki asked me just as I was leaving, “Did you like the movie?” It was not an easy question to answer, under the circumstances. I said: “Yes. It is not my book. It is your movie. It is a good movie.”
宮崎吾朗先生在我正要離席時問我：「你喜歡這部電影嗎？」在那個情況下這不是個容易回答的問題。我說：「是的。這不是我的書。這是你的電影。這是部好電影。」
I did not realise that I was speaking to anyone but him and the few people around us. I would have preferred that a private reply to a private question not be made public. I mention it here only because Mr Goro has mentioned it in his blog.
這些話我並沒想要跟他以外的人講，當時我們身邊並沒什麼人。我希望那是一個對私人問題的私下回應，而不是將之公開。我在這裡提到此事只是因為宮崎吾朗先生曾在他的blog裡提到這件事。
So, in the spirit of everything being public all the time for fifteen minutes, I will give a fuller report of my first response to the film:
因此，在這凡事隨時都會在十五分鐘內被公開的時代潮流下，我將對這部電影的第一反應做一份更完整的記述。
Much of it was beautiful. Many corners were cut, however, in the animation of this quickly made film. It does not have the delicate accuracy of “Totoro” or the powerful and splendid richness of detail of “Spirited Away.” The imagery is effective but often conventional.
片中很多地方是美麗的，儘管在這部速成的動畫片中許多情節被省略掉。它沒有龍貓那樣細膩的準確性，或是神隱少女的張力以及壯麗豐富的細節，而片中的意像有效但常顯得普通。
Much of it was exciting. The excitement was maintained by violence, to a degree that I find deeply untrue to the spirit of the books.
片中有許多令人興奮處，這些令人興奮的因素是由暴力所維持，我發現其暴力程度完全違背書中的精神。
Much of it was, I thought, incoherent. This may be because I kept trying to find and follow the story of my books while watching an entirely different story, confusingly enacted by people with the same names as in my story, but with entirely different temperaments, histories, and destinies.
片中有許多我認為無條理之處。這也許是因為我不斷嘗試去追尋我書中的故事，當我看著這個完全不同的故事，裡面演出的角色和我的故事角色擁有相同名字，卻令人困惑地擁有迥然不同的個性、歷史和命運。
Of course a movie shouldn’t try to follow a novel exactly — they’re different arts, very different forms of narrative. There may have to be massive changes. But it is reasonable to expect some fidelity to the characters and general story in a film named for and said to be based on books that have been in print for 40 years.
當然一部電影不需要試著完全遵照原作小說─他們是不同的藝術，具備非常不同的敘述方式，大量改動可能有其必要。但在一部以出版超過四十年的書籍來命名，並且號稱是改編的電影上，期待其角色和故事大綱稍微符合原作是合理的。
Both the American and the Japanese film-makers treated these books as mines for names and a few concepts, taking bits and pieces out of context, and replacing the story/ies with an entirely different plot, lacking in coherence and consistency. I wonder at the disrespect shown not only to the books but to their readers.
美國和日本的製片者都只在書名與部份概念上將這幾本書當作我的作品，卻把許多片段抽離其本來脈絡，用一些完全相異的情節來取代原故事。我不知道他們這樣作對書本，甚至對這些書的讀者來說有多失禮。
I think the film’s “messages” seem a bit heavyhanded because, although often quoted quite closely from the books, the statements about life and death, the balance, etc., don’t follow from character and action as they do in the books. However well meant, they aren’t implicit in the story and the characters. They have not been “earned.” So they come out as preachy. There are some sententious bits in the first three Earthsea books, but I don’t think they stand out quite this baldly.
我認為這部片的「訊息」似乎有些拙劣，因為儘管經常引用接近書中的用語：關於生與死、平衡等等的句子，卻不遵照角色和情節在書中的表現。即使這些引用都是出自善意，卻與故事和角色沒有什麼緊密的關連。它們並非被「爭取得來的（譯注：指隨故事順勢推演，使這些話不得不說）」，所以就變成一種說教。片中出現一些在前三本地海叢書中的警世格言，但我不認為它們該是如此露骨地引人注目。
The moral sense of the books becomes confused in the film. For example: Arren’s murder of his father in the film is unmotivated, arbitrary: the explanation of it as committed by a dark shadow or alter-ego comes late, and is not convincing. Why is the boy split in two? We have no clue. The idea is taken from A Wizard of Earthsea, but in that book we know how Ged came to have a shadow following him, and we know why, and in the end, we know who that shadow is. The darkness within us can’t be done away with by swinging a magic sword.
書中的道德觀念在這部電影中變得令人困惑。例如：亞刃在片中謀害他的父親是沒有動機且武斷的，電影中的解釋為：這是由某個黑影所犯下的或心腹朋友來得太晚，但這沒有說服力。為什麼這個男孩會一分為二？我們無從得知。這個構想是取自地海巫師，但在此書中我們了解格得如何使一個影子甦醒過來跟隨著他，我們也知道為什麼，而且在結尾時，我們知道這個影子是誰。在我們心中的黑暗是無法靠揮舞一把魔法劍來驅除的。
But in the film, evil has been comfortably externalized in a villain, the wizard Kumo/Cob, who can simply be killed, thus solving all problems.
但在影片中，邪惡被簡易地具象化成一個壞蛋，巫師喀布只要被殺掉就可以解決所有的問題。
In modern fantasy (literary or governmental), killing people is the usual solution to the so-called war between good and evil. My books are not conceived in terms of such a war, and offer no simple answers to simplistic questions.
在現代的幻想中(不論是文學中或者政治上)，殺人是在所謂的正邪之戰中最常見的解決之道。我的書並非建構在這樣一種戰爭上面，也沒有給過分單純化的問題提供簡單的答案。
Though I think the dragons of my Earthsea are more beautiful, I admire the noble way Goro’s dragons fold their wings. The animals of his imagination are seen with much tenderness — I liked the horse-llama’s expressive ears. I very much liked the scenes of plowing, drawing water, stabling the animals, and so on, which give the film an earthy and practical calmness — a wise change of pace from constant conflict and “action”. In them, at least, I recognised my Earthsea.
雖然我認為在我地海中的龍更加美麗，我仍欣賞吾朗的龍摺疊牠們翅膀時的高貴方式。在他想像中的這些動物看起來比較溫和─我喜歡駱馬富表情的耳朵等等，給予這部片大地和實際的寧靜－在不斷的衝突和「動作」中一種智慧的步調改變。至少在其中，我認出了我的地海。
The issue of color:
膚色的爭議:
My purpose in making most of the people of Earthsea colored, and the whites a marginal and rather backward people, was of course a moral one, aimed at young American and European readers. Fantasy heroes of the European tradition were conventionally white — just about universally so in 1968 — and darkness of skin was often associated with evil. By simply subverting an expectation, a novelist can undermine a prejudice.
我的目的是讓大部分在地海中的種族是有色人種，而白種人是較邊緣且落後的民族，這當然是針對歐美年輕讀者的道德問題。歐洲傳統中的奇幻英雄照慣例總是白人－在1968年極為普遍－而深色皮膚總和邪惡連結在一起。藉由完全推翻這種期待，一個小說家可以逐漸削弱這種歧視。
The makers of the American TV version, while boasting that they were “color blind,” reduced the colored population of Earthsea to one and a half. I have blasted them for whitewashing Earthsea, and do not forgive them for it.
當美國電視影集的製作者，在以他們是「無膚色偏見的」而自豪的同時，將地海中的有色人口減少至一又二分之一。我強力譴責他們漂白地海，且在這件事上永遠不原諒他們。
The issue is different in Japan. I cannot address the issue of race in Japan because I know too little about it. But I know that an anime film runs smack into the almost immutable conventions of its genre. Most of the people in anime films look — to the American/European eye — white. I am told that the Japanese audience perceives them differently. I am told that they may perceive this Ged as darker than my eye does. I hope so. Most of the characters look white to me, but there is at least a nice variation of tans and beiges. And Tenar’s fair hair and blue eyes are right, since she’s a minority type from the Kargish islands.
在日本問題是不同的。在日本我無法在這個種族議題上發表意見，因為我對此了解的太少，但我知道這動畫影片在類型上不偏不倚地落入一個幾乎不變的慣例。大部分的人在動畫片中看起來－以歐美的眼光來看－是白的。我被告知日本的觀眾是以不同的方式理解角色們，他們可能察覺格得比我眼中看來還要黑，我希望如此。對我來說大部分的角色都是白人，但至少在棕褐色和灰棕色有不錯的變化。而恬娜的金髮和藍眼睛是正確的，因為她是來自卡耳格群島的少數民族。
When can we see “Gedo Senki” or “Tales of Earthsea” in America?
我們什麼時候能在美國看到「格得戰記」或「地海傳說」？
When the contract with the TV people for their film and rights runs out: not before 2009. Alas! There are dogs in the manger.
在與電視公司的影片和權力合約到期前：也就是2009年以後。噫！那些占著茅坑不拉屎的人。
Note: The version shown us was subtitled, not dubbed. Studio Ghibli does excellent dubbing, but I was delighted to hear the Japanese voices for once. Ged’s warm, dark tone was particularly fine. And I hope the lovely song Therru sings is kept in its original form when the film is dubbed.
附註：給我們看的影片版本是有字幕的，不是英語配音。吉卜力工作室的英語配音不錯，但我很高興能聽到一次日文的聲音。格得溫暖、深沉的音調恰好適當，還有我希望瑟魯唱的那首美好的歌，在這部片作英文配音時能保留它原本的形式。
來源網站：
http://www.ursulakleguin.com/GedoSenkiResponse.html
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此文章發表 於 2006 年 八月 29 日 - 星期二 2:26 下午，於文章分類: Project / 特別企劃。
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