I have a story, a story that I would like to share with you. And it's an African story. It is a story of hope, resilience and glamour.
我有一个故事要跟大家分享 一个有关非洲的故事 一个有关希望,生命力和魅力的故事
There was Hollywood. Then came Bollywood. Today we have Nollywood, the third-largest film industry in the world. In 2006 alone, almost 2,000 films were made in Nigeria. Now, try to imagine 40, 50 films wrapped, distributed, every week in the streets of Lagos, Nigeria and West Africa. Some estimates put the value of this industry at 250 million dollars. It has created thousands, if not tens of thousands of jobs. And it's expanding. But keep in mind that this was a grassroots movement. This is something that happened without foreign investment, without government aid, and actually, it happened against all odds, in one of the most difficult moments in Nigerian economy. The industry is 15 years old.
先有了好莱坞 然后有「宝莱坞」 今天我们有「尼莱坞」:世界上第三大的尼日利亚电影业 仅2006年,尼日利亚生产近2000部电影 试想每周有40或50部电影在拉各斯市 尼日利亚和西非的街道制作和分销 据估计这个行业的价值有2亿5千万美元 它创造了至少数以千计的工作 而且这个行业仍在增长 但请注意,这是一场由基层开始的运动 没有外国投资 没有政府的援助,实际上, 完全出乎预料 它发生在尼日利亚经济最困难的时刻, 该行业有15年的历史
And so maybe you're thinking now, why, how, an Italian filmmaker based in Boston is so interested in this story? And so I think I have to tell you just a few words, a few things about my personal life, because I think there is a connection. My grandfather lived most of his life and is buried in Zambia. My father also lived most of his adult life in East Africa. And I was born in Zambia. Even though I left when I was only three years old, I really felt that Africa was this big part of my life. And it really was a place where I learned to walk. I think I uttered the first words, and my family bought their first home. So when we came back to Italy, and one of the things that I remember the most is my family having this hard time to share stories. It seemed that for our neighbors and friends, Africa was either this exotic place, this imaginary land that probably exists only in their imagination, or the place of horror, famine. And so we were always caught in this stereotype. And I remember really this desire to talk about Africa as a place where we lived and people live and go about their lives, and have dreams like we all have. So when I read in a newspaper in the business page the story of Nollywood, I really felt this is an incredible opportunity to tell a story that goes against all these preconceived notions.
那么你可能会想 为什么一个住在波士顿的意大利电影制片人 会对这个故事感兴趣? 我觉得我得简短的告诉你们 我的一些个人生活的事情 因为我觉得有关系 我祖父一生大部分时间生活在赞比亚,也埋葬在那里 我父亲成年的日子也大多在东非度过 而我出生于赞比亚 虽然我三岁时就离开了那里 但我真的觉得非洲是我生命中的一大部分 是我学会走路的地方 开始呀呀学语的地方 家人买了他们的第一间房子 因此当我们回到意大利后 我记忆最深刻的一件事情 是我的家庭很难与人分享非洲的故事 似乎对我们的邻居和朋友而言 非洲要么是一个富有异国情调的虚构之地 只存在于他们的想象当中 要么是一个充满恐怖和饥荒的地方 因此我们总是被固有的成见包围着 我记得我有一种强烈的愿望,就是讲讲非洲 一个我们曾经住过的地方,那里的人们同样过着他们的日子 有着跟我们一样的梦想 因此当我在一家报纸的商业版看到一则 关于「尼莱坞」的故事 我知道这是一个难得的机会 来讲述一个与这些先入之见相反的故事
Here I can tell a story of Africans making movies like I do, and actually I felt this was an inspiration for me. I have the good fortune of being a filmmaker-in-residence at the Center of Digital Imaging Arts at Boston University. And we really look how digital technology is changing, and how young, independent filmmakers can make movies at a fraction of the cost. So when I proposed the story, I really had all the support to make this film. And not only had the support, I found two wonderful partners in crime in this adventure. Aimee Corrigan, a very talented and young photographer, and Robert Caputo, a friend and a mentor, who is a veteran of National Geographic, and told me, "You know, Franco, in 25 years of covering Africa, I don't know if I have come across a story that is so full of hope and so fun."
这里我可以讲一个非洲人如何和我一样拍电影的故事 对我來說,这实际上是一种启发 凑巧的我是在波士顿大学数码影像艺术中心 做驻中心的制片人 我们看到数码技术是如何不断的改变 而年轻独立制片人 可以制造成本低廉的电影 因此当我提议拍这个故事 我得到大力的支持制作这部影片 不仅有支持 我还找到两个很棒的的合作伙伴, 跟我一起开始这次历险 一个非常有才华的年轻摄影师-艾米科里根 另一位是我的朋友和导师:罗伯特卡普托 他是一位資深的「国家地理」制作人 他说,佛朗哥,我在非洲工作了25年 我不确定我曾经遇到过如此充滿 希望和有趣的故事」
So we went to Lagos in October 2005. And we went to Lagos to meet Bond Emeruwa, a wonderful, talented film director who is with us tonight. The plan was to give you a portrait of Nollywood, of this incredible film industry, following Bond in his quest to make an action movie that deals with the issue of corruption, called "Checkpoint." Police corruption. And he had nine days to make it. We thought this was a good story.
因此我们于2005年10月抵达拉各斯市 与邦德艾玛鲁华会面 一位才华横溢的导演,他今晚也在场 我们打算给大家展现尼莱坞的情景 这个神奇的电影工业 我们追随邦德拍摄一部动作片的过程 他的电影涉及贪污问题 影片名叫「检查站」 是关于警察贪污问题的 他只有9天时间拍这部电影 我们认为这是一个好故事
In the meantime, we had to cover Nollywood, and we talked to a lot of filmmakers. But I don't want to create too many expectations. I would like to show you six minutes. And these are six minutes they really prepared for the TED audience. There are several themes from the documentary, but they are re-edited and made for you, OK? So I guess it's a world premier.
与此同时,我们也记录了尼莱坞 我们访问了许多电影制片人 我不想制造过多的期望 我就播放6分钟的內容 这六分钟昰专为TED观众准备的 这个纪录片有好几个主题 我们重新编辑了给大家看 我想这算是世界首映吧
(Video) Man: Action. Milverton Nwokedi: You cut a nice movie with just 10,000 dollars in Nigeria here. And you shoot in seven days. Peace Piberesima: We're doing films for the masses. We're not doing films for the elite and the people in their glass houses. They can afford to watch their "Robocop" and whatever. Mahmood Ali Balogun: I think filmmaking in Nigeria, for those who work in it, is a kind of subsistence filmmaking -- what they do to make a living. It's not the fancy filmmaking where you say, oh, you want to put all the razzmatazz of Hollywood, and where you have big budgets.
「影像」 开拍 在尼日利亚 你可以用1万美元拍一部不错的电影 7天就可以完成 我们拍的电影是給大众看的 我们不是为精英一族 和那些住在玻璃屋里的人而拍 他们可以观看“机器战警”和他们感兴趣的任何电影 我觉得在尼日利亚,制作电影,对于这个行业的人来说 是一种维持生存需求的电影制作 - 他们以此为生 不像好莱坞那种的大手笔的制作 搞的越华丽堂皇越好 因为你具备雄厚的资本
Here is that you make these films, it sells, you jump onto the location again to make another film, because if you don't make the next film, you're not going to feed. Bond Emeruwa: So while we're entertaining, we should be able to educate.
在这里你拍一部电影 如果卖得好,你就立刻开拍下一部新戏 因为如果你不拍下一部电影,你会没饭吃 我们应当能够寓教于乐
I believe in the power of audiovisuals. I mean, 90 percent of the population will watch Nollywood. I think it's the most viable vehicle right now to pass information across a dedicated cable. So if you're making a movie, no matter what your topic is, put in a message in there. Woman: You still have to report the incident. He needs proper medical attention. PP: I keep trying to explain to people, it's not about the quality at the moment -- the quality is coming. I mean, there are those films that people are making for quality, but the first thing you have to remember about this society is that Africa still has people that live on one dollar a day, and these are the people that really watch these films.
我相信影音的力量 我是说90%的人观看尼莱坞电影 我认为这是目前利用专用电缆 传递信息的最可行方法 因此如果你拍一部电影,不管内容是什么 都应包含一个发人深省的道理 当然你还得报告事件本身 他需要及时的治疗 我一直试图向人们解释 目前的问题不是质量好坏 - 质量会逐渐提高 我是说,有些电影是为追求质量而制作的。 但是首先你别忘了非洲这个社会 很多人的生活标准一天只有一美元 而这些人才真正是这些电影的观众
Sonny McDon W: Nollywood is a fantastic industry that has just been born in this part of the world. Because nobody believed that Nollywood can come out of Africa. Lancelot Imasen: But our films, they are stories that our people can relate to themselves. They are stories about our people, for our people. And consistently, they are glued to their screen whenever they see the story. Narrator: Suspense, fun and intrigue. It's the blockbuster comedy. You'll crack your ribs.
尼莱坞是一个神奇的行业 刚刚在世界的这个角落诞生 因为没人相信尼莱坞能够走出非洲 但我们的电影 讲述的故事可令人们产生共鸣 这些故事是关于他们的,是为了他们而制作的 所以每当他们观看这些故事的时候 他们总是目不转睛 充满悬念,乐趣丛生,引人入胜 这样的喜剧大片 能让人笑破肚皮
Bernard Pinayon Agbaosi: We have been so deep into the foreign movies. It's all about the foreign movies. But we can do something too. We can do something, something that when the world sees it, they say, wow, this is Nigeria. Man: Just arrest yourself, sergeant. Don't embarrass yourself. Come on. Don't run away. Come back. Come back.
我们长期以来总是迷恋外国电影 外国电影一直是关注的中心 其实我们可以有所作为 我们可以创作一些东西,当世界看到我们的创作 他们会说,哇,这才是尼日利亚 自首吧, 上士 别出你自己的洋相 来吧, 别跑了, 回来,回来
SMW: You can now walk the street and see a role model. It’s not just what you see in picture. You see the person live. You see how he talks. You see how he lives. He influences you really good, you know. It’s not just what you see in the picture. It is not what you hear, you know, from the Western press. Man: See you. Bye. Action.
现在你走在大街上,就能见到榜样 那不是在电影里看到的 你看到的是活生生的人 你看他怎么样说话,怎么样生活 他对你影响巨大 不仅仅是你在电影里面所看到的 不是你从西方媒体那里听到的 再会,再见 开拍
Saint Obi: I was so fascinated, you know, with those cowboy movies. But then when I discovered the situation in my country, at that time there was so much corruption. For a young man to really make it out here, you got to think of some negative things and all that, or some kind of vices. And I didn't want that, you know. And I discovered that I could be successful in life as an actor, without doing crime, without cheating nobody, without telling no lies. Just me and God-given talent. Man: Let's go. OK, it's time to kick some ass. Cover this. It's your own. Move it.
我曾经痴迷那些西部牛仔电影 但是当我认识到我的国家的处境 那时腐败猖獗 一个年轻人要想出人头地, 就不得不寻找歪门邪道 做坏事 可是我不想那样 后来我发现我可以当个成功的演员 不用犯罪,欺骗别人,或者撒谎 就靠我自己和上帝赋予的才能 我们开始吧 好的,到我们大显身手的时候了 这儿就交给你了 动作快点儿
Roboger Animadu: In big countries, when they do the movies, they have all these things in place. But here, we improvise these items, like the gunshots. Like they go, here, now, now, you see the gun there, but you won't see any guns shot, we use knock-out. Kevin Books Ikeduba: What I'm scared of is just the explosion will come up in my face. Woman: That's why I use enough masking tape. The masking tape will hold it. Wat, wait. Just hold this for me. KBI: I'm just telling her to make sure she places it well so that it won't affect my face -- the explosion, you know. But she's a professional. She knows what she’s doing. I'm trying to protect my face too. This ain't going to be my last movie. You know, this is Nollywood, where the magic lives.
大国制作电影的时候 他们设备精良 但是在这儿,我们得临场发挥,想办法,比如说拍枪击 他们说,现在, 马上开枪, 你看到枪支, 却看不到开枪射击, 我们用剪接的办法 我怕的是爆管飞到我脸上 这就是我得用足够的胶带的原因 胶带能固定住它 等等,把这个给我拿着 我只是在告诉她一定要放在合适的位置 以免爆炸伤到我的脸 其实她很专业,知道自己在做什么 可是我也得保护我的脸呀 这可不是我演的最后一部电影 要知道,这里是尼莱坞, 是充满神奇魔力的地方
RA: So now you're about to see how we do our own movies here, with or without any assistance from anybody. Man: Action. Cut. (Applause)
现在你马上就要看到我们如何制作电影 不管有没有别人的帮助 开拍 停 掌声
Franco Sacchi: So many things to say, so little time. So many themes in this story. I just can't tell you -- there’s one thing I want to tell you. I spent, you know, several weeks with all these actors, producers, and the problems they have to go through are unimaginable for, you know, a Westerner, a filmmaker who works in America or in Europe. But always with a smile, always with an enthusiasm, that is incredible.
要说的太多,时间太少 这个故事有众多主题 我无法尽述, 我只想说一件事 我和这些演员们,导演们,一起度过好几周的时间 他们遇到的问题是 一个西方导演,比如美国或者欧洲导演,无法想象的 但是他们总是用微笑,和热情面对 真让人叹服
Werner Herzog, the German filmmaker said, "I need to make movies like you need oxygen." And I think they’re breathing. The Nigerian filmmakers really, really, are doing what they like. And so it's a very, very important thing for them, and for their audiences. A woman told me, "When I see a Nollywood film, I can relax, I really -- I can breathe better."
德国电影制作人沃纳赫尔佐格说过 我需要拍电影,就像你需要氧气 我认为他们是在呼吸 尼日利亚电影制片人真的是在做着自己喜欢的事情 因此拍电影对他们是一件非常重要的事情 对他们的观众也很重要 一位女士告诉我,“当我看一部尼莱坞电影时, 我能放松,真的呼吸都更顺畅
There is also another very important thing that I hope will resonate with this audience. It’s technology. I’m very interested in it and I really think that the digital non-linear editing has slashed, you know, the cost now is a fraction of what it used to be. Incredible cameras cost under 5,000 dollars. And this has unleashed tremendous energy. And guess what? We didn’t have to tell to the Nigerian filmmakers. They understood it, they embraced the technology and they run with it, and they’re successful. I hope that the Nollywood phenomenon will go both ways. I hope it will inspire other African nations to embrace the technology, look at the Nigerian model, make their films, create jobs, create a narrative for the population, something to identify, something positive, something that really is psychological relief and it's part of the culture. But I really think this is a phenomenon that can inspire us. I really think it goes both ways.
另一件重要的事 我希望今天的听众更深有体会的 就是技术,我对此很有兴趣 而且我相信数码非线性编辑技术大大削减了电影制作成本 现在电影成本是过去很小的一部分 不到5千美元就能买到很棒的摄像机 科技让巨大的创造力释放出来 你猜怎么着? 我们不用告诉尼日利亚电影制片人 他们理解并欣然接纳了技术 他们在使用新技术上得心应手 我希望尼莱坞现象能够起双向作用 我希望其他非洲国家能受到启发充分利用技术 以尼日利亚为榜样,拍电影,创造就业机会 为自己的人民创作能让他们感同身受的故事 积极正面,并且能够提供心灵慰籍的故事 并且是他们自己文化里的东西 但是我认为尼莱坞现象更能给我们启示 我确实认为尼莱坞的作用是双向的
Filmmakers, friends of mine, they look at Nollywood and they say, "Wow, they are doing what we really want to do, and make a buck and live with this job." So I really think it’s a lesson that we're actually learning from them. And there's one thing, one small challenge that I have for you, and should make us reflect on the importance of storytelling. And I think this is really the theme of this session. Try to imagine a world where the only goal is food and a shelter, but no stories. No stories around the campfire. No legends, no fairytales. Nothing. No novels. Difficult, eh? It's meaningless.
我的电影制作人朋友们, 他们看到尼莱坞, 就会感叹 哇, 他们做的正是我们真正想做的 挣点儿钱, 以拍电影为生 所以我认为 是我们实际上从他们身上学到了东西 有一件事,我给你们提出一个小小的挑战 它能使我们反思讲故事的重要性 我认为这正是这场演讲的主题 试着想象一下一个食物和住所是唯一目标的世界,没有故事 没有篝火边讲的故事 没有传奇,没有神话 什么都没有 没有小说 很难想象,对吧?毫无意义
So this is what I really think. I think that the key to a healthy society is a thriving community of storytellers, and I think that the Nigerian filmmakers really have proved this. I would like you to hear their voices. Just a few moments. It’s not an added sequence, just some voices from Nollywood.
那么,我是这样认为的 我认为通往一个健康社会的钥匙 就是一个生机勃勃的讲故事人的群体 并且我认为尼日利亚电影制作人证实了这一点 我想让你们听听他们的声音 只是几个片段 不是加上的续集, 只是来自尼莱坞的一些声音
(Video) Toyin Alousa: Nollywood is the best thing that can happen to them. If you have an industry that puts a smile on people's face, that’s Nollywood. SO: I believe very soon, we’re not only going to have better movies, we'll have that original Nigerian movie. BE: It’s still the same basic themes. Love, action. But we're telling it our own way, our own Nigerian way, African way. We have diverse cultures, diverse cultures, there are so many, that in the natal lifetimes, I don't see us exhausting the stories we have.
尼莱坞是发生在他们身上最好的事情 如果有一种工业能让人们脸上绽放笑容, 那就是尼莱坞 我想不久,我们不仅有更好的电影 我们会有原汁原味的尼日利亚电影 当然基本的主题还是那些 爱情,动作 但是我们是用我们自己的方式讲述这些故事,尼日利亚方式,非洲的方式 我们有多元的文化,种类如此繁多, 在我们的有生之年 我不认为我们可以穷尽这些故事
FS: My job ends here, and the Nollywood filmmakers really have now to work. And I really hope that there will be many, many collaborations, where we teach each other things. And I really hope that this will happen. Thank you very much. (Applause)
我的任务到此结束。尼莱坞的电影制作人需要去工作了 我非常希望未来会有很多很多的合作 我们可以学习很多东西 我真的希望这能够实现 非常感谢 掌声
Chris Anderson: Stop. I've got two questions. Franco, you described this as the world's third largest film industry. What does that translate to in terms of numbers of films, really?
克里斯 安德森: 等一下,我有两个问题 佛朗哥, 你说尼莱坞是世界上第三大电影工业 那么在电影数量上这到底是个什么概念呢
FS: Oh, yes. I think I mentioned briefly -- it's close to 2,000 films. There is scientific data on this.
佛朗哥: 对了, 我前面简单提到过,大约是两千部电影 有科学的数据
CA: 2,000 films a year? FS: 2,000 films a year. 2005 or 6, the censor board has censored 1,600 films alone. And we know that there are more. So it’s safe to say that there are 2,000 films. So imagine 45 films per week. There are challenges. There are challenges. There is a glut of film, the quality has to be raised, they need to go to the next level, but I’m optimistic.
一年两千部电影吗? 对,两千零五,两千零六部 光是审查委员会就要审查一千六百部 我们知道实际数量比这还多 所以可以肯定有两千部 想象一下一周生产45部电影 有很多挑战,很多挑战 电影生产过剩 质量需要提高,他们必须走向更高层次 但是我很乐观
CA: And these aren’t films that are primarily seen in cinemas?
克: 这些不是主要在影院里放映的电影吗?
FS: Oh yes, of course. This is very important. Maybe, you know, for you to try to imagine this, these are films that are distributed directly in markets. They are bought in video shops. They can be rented for pennies.
佛: 对了, 当然,这点很重要 试想一下 这些是直接在市场上分销的电影 他们在录影带店里出售 几分钱就可以租来看
CA: On what format?
克:用什么形式?
FS: Oh, the format -- thank you for the question. Yes, it's VCDs. It's a CD, it's a little bit more compressed image. They started with VHS. They actually didn't wait for, you know, the latest technology. They started in '92, '94. So there are 57 million VCRs in Nigeria that play, you know, VHS and these VCDs. It's a CD basically. It's a compact disc.
弗: 形式,对了,谢谢你的问题,是VCD 是一种CD(光碟), 但是影象更加压缩 他们开始的时候使用VHS(录影带) 他们实际上并没有等待最新技术的到来 他们是从92,94年开始的 尼日利亚有五千七百万录像机 可以播放录影带和光碟 实际上它是一种光盘,压缩光盘
CA: So on the streets, are film casts ... ?
克: 那么电影是在大街上卖的吗?
FS: You can be in a Lagos traffic jam and you can buy a movie or some bananas or some water. Yes. (Laughter) And I have to say, this really proves that storytelling, it's a commodity, it's a staple. There is no life without stories.
佛:你可能在拉各斯遇上堵车 你也许会买部电影, 或者香蕉,水什么的.是的 笑声 我必须说,这真的证明了讲故事 是一种商品,一种必需品 没有故事就没有生活
CA: Franco, thank you so much.
克:佛朗哥,非常感谢你。